Рецензии на предстоящото постановка
1Mit tiefgründigem, profund klingendem Bariton stattete Pawel Konik den Donner aus.
Рецензии на предишна постановка
6Mit tiefgründigem, profund klingendem Bariton stattete Pawel Konik den Donner aus.
Village area, mountains, forest, and cornfields somewhere in the provinces – that's all the libretto of L'elisir d'amore envisages. In view of the fact that the events took place almost two hundred years ago, Donizetti's opera was first performed in 1832, this has prompted numerous directors today to look for a more modern setting - a beach, a wellness spa, and the working world between warehouses. After all, love - whether dreamed of or actually fulfilled - happens at all times and everywhere, and such love is what the opera is about.
It was in the production of The Queen of Spades directed by Sergio Morabito and Jossi Wieler in 2017, in Stuttgart, that the young Norwegian soprano Lise Davidsen made her debut as Lisa on the occasion of her revival, a character that neither Neither Anna Netrebko nor Sondra Radvanovsky have appeared on stage to date. And she approaches it in a show far removed from conventional scenographies, which rewrites a story at the heart of a deliberately miserable decor, where remains of baroque decoration on a green background, typical of the architecture of Saint Petersburg, disfigure an ensemble faded mixing remains of cinema, underground passages and brothel built on a 360° perspective. This story is that of an outcast from his childhood, Hermann, who falls in love with a young woman, Lisa, who has no other choice to survive than to prostitute herself with a rich suitor, Eletski.
Jochanaan, the prophet, actually never comes off well in this opera. Ultimately, he is a zealot who hardly says anything concrete and just keeps repeating that the Redeemer will come. Strauss makes this abundantly clear in the music when he has him sing the same musical phrases over and over again, and in a stentorian voice. Iain Paterson creates it with a beautiful and, appropriate to the role, almost organ-like baritone. In Kirill Serebrennikov's production, this prophet has a much darker side. Serebrennikov has him appear twice, once as the voice of the Prophet, sung by Iain Paterson, who is on stage in a gray formal suit. The actual Jochanaan is played by Yasin el Harrouk. He appears as a terrorist who has been captured by the state power. Serebrennikov's staging is sarcastic. And very politically realistic at the same time.
Stuttgart - A hermetic world, a high-security wing: the home of the ruler Herod, who has to isolate himself from his own people. Like Assad in Syria or other dictators in the Arab world. The house full of security personnel: in black suits with buttons in their ears. No windows in this bunker. Concrete walls, white leather sofas, metal chairs. And the bedroom, enthroned above the foyer-like center of the house, is glazed and therefore visible. So you can see the wife sometimes having fun with hot guys. Even the moon, which is sung about at the beginning, just sticks to Pierre Jorge Gonzalez's set as a huge, illuminated steel ring.
In der Partie des Prinzen von Homburg zog Christian Miedl alle Register seines großen Könnens. Schon darstellerisch war er sehr überzeugend. Er hatte sich die Konzeption des Regisseurs bestens zu eigen gemacht und stürzte sich voller Elan in seine Rolle, der er auch gesanglich mit profundem, trefflich gestütztem Bariton voll entsprach.
