Tidligere produksjonsanmeldelser
3“Una voce baritonale molto sonora e una notevole morbidezza nell’emissione consentono a Gustavo Castillo di incarnare un Padre Peter scanzonato ma al contempo carico di amare preoccupazioni per il destino dei figli“
“Peter è Gustavo Castillo, baritono venezuelano dal timbro brillante e gradevolissimo, nonché dalle spiccate doti attorali.“
Sabine Mäder 's stage is mostly action-oriented. Only the abode of the four friends in the first picture - not an attic room, but a living container - has its acoustic and scenic pitfalls: the otherwise, in the middle to front stage area, excellent transparency and diction of all singers is in the small cubicle, although mostly wallless rear left, about 4 x 6 m in size, greatly reduced. To compensate for this somewhat remote location, a cameraman ( Oliver Lasch) close-ups of the container residents were made on stage, which are projected onto a surface in the right half of the stage, behind which the "Momus" counter is hidden. Not only is the cameraman's scurrying around annoying, but the transmission is also repeatedly chopped up by dropouts and pixelation. On the part of the leadership, the story is told very clearly and straightforwardly on the action and emotional level, and the latter level is also very carefully designed musically. This is the work of Markus Poschner , who lets the Bruckner Orchestra Linz play music precisely and transparently and of course also has the coordination between the pit and the stage perfectly under control.
