Staatstheater Meiningen / Reviews

Tamta Tarielashvili als großartige Suzuki steht ihr als Dienerin und Freundin zur Seite. Ihr klarer Mezzosopran zeigt Persönlichkeit und Linie. Sachlich, wissend und souverän betrachtet sie die Lage und übernimmt in einer Selbstverständlichkeit Sorge für Butterfly, ohne sie zu betütteln.

Zum Glück war mit Tamta Tarielashvili eine standfest eloquente Suzuki an ihrer Seite

Tamta Tarielashvili als großartige Suzuki steht ihr als Dienerin und Freundin zur Seite. Ihr klarer Mezzosopran zeigt Persönlichkeit und Linie. Sachlich, wissend und souverän betrachtet sie die Lage und übernimmt in einer Selbstverständlichkeit Sorge für Butterfly, ohne sie zu betütteln.

Zum Glück war mit Tamta Tarielashvili eine standfest eloquente Suzuki an ihrer Seite

Monika Reinhard veredelt den berühmten Walzer zur eindrucksvollen Präsentation der hohen Kunst von mindestens 20 Arten souveräner Vibrati in nur 150 Sekunden. Ihr kurzes Gebet am Ende ist keine heruntergespulte Litanei wie sonst, sondern Silbe um Silbe bewusst modelliert. Durch diese intensive und dabei klare Art des Singens zeichnet sich das ganze Ensemble aus. Daran merkte man auch, dass dieses zutiefst dankbar war für die motorischen Fr

Monika Reinhard macht aus ihrer Musetta nicht nur ein vokales Glanzlicht, sondern ihr gelingt auch der Schritt aus der zweidimensionalen Skizze in die dreidimensionale Lebendigkeit von Koketterie.

Ein Glücksfall für die Aufführung ist auch Monika Reinhard als Maria Rainer, zunächst eine unbekümmerte Anwärterin, um in das Nonnenstift einzutreten, und später in weltlicher Funktion die Erzieherin der Trapp-Kinder. Sie zeigt das Werden einer Persönlichkeit zwischen Gott-Gläubigkeit und Heimatliebe und mit einer Portion liebenswürdiger Gradlinigkeit, auch Emanzipation. Ihre Maria lässt bei aller Gutgläubigkeit nie Sentimentalität aufkommen. Sie zeigt eine Kraft, die im wahrsten Sinne Berge versetzen kann.

The fourth music theater premiere of the Meiningen State Theater in the still young 2021/22 season and the third in the calendar month of October! Director Jens Neundorff von Enzberg took the finished decorations from the Regensburg Theater to Thuringia because Corona had prevented production there. The costumes were then created in Meiningen. Ovations for a moving evening about the life-changing power of music and a production rich in emotions and free of sentimentality. The six virtuoso child actors were particularly impressive. The musical based on the book "Trapp Family Singers" by Maria Augusta Trapp never really felt at home in the German-speaking world. The American composer Richard Rodgers understood the Salzkammergut at least as well as the thirty composers who had previously worked on the “Weißes Rössl”. In Meiningen, a new production of the musical, which was released on Broadway in 1959 and was filmed in 1965 with Julie Andrews, was convincing and inspiring in all areas. In front of Friedrich Eggert's rocky landscape with a monastery church, in which the nuns wear smart purple and the Meiningen choirwomen make a not at all otherworldly impression, the villa, which is decorated with beige tones, has at best the slightest associations with a Heimatfilm. The American musical dealt with Germany's darkest time not only in "Cabaret", but also in "The Sound of Music". Rodgers and Oscar Hammerstein II are more tolerable and even a touch optimisticabove all in the conviction that music, like faith, moves mountains. Harish Shankar and the Meininger Hofkapelle brought Rodgers' irresistible music to life in a crystalline, floating and seductive manner. They confirm that the ultra-right are wrong when they assert exclusive claim to the musical Alpine idiom. Fortunately, musically they distanced themselves from the American show sound. These were the best prerequisites for a successful and sometimes touching evening of the premiere, also in the fine changes between music and text. In two casts, the stars are the six children of Captain Trapp, who is hardened in mourning for his wife. Things change when Maria comes out of the convent as a governess and—supported by Hakan T. Aslan's choreography—wins the children's affection all the faster. These – on the evening of the premiere: Paul Rümann, Klara Kovác, Gabriel Kovac, Leona Balázs-Piri, Rosanna Samantha Loos, Melia Mahr – take on the inveterate professionals really well and speak their dialogues with admirably polished stage presence. The intensity of expression of the young actors is always right. Cuteness remains a foreign word throughout the evening. – As Sister Maria, Monika Reinhard is a stroke of luck, In his direction, Bernd Mottl always focuses on filigree images of people that never become sluggish or slow down the subtle tempo of the Rodgers musical. He keeps the scenes in the Nonnenbergstift in a delicate state of suspension between gentle caricature and heart, giving the figures more syncopated individuality than scenic motor skills. The gradual adaptation of Austria to Hitler's Germany is clear, but not gross - the exception remains the threatening gestures of Hitler's executors, who hasten the flight of the Trapp family. Stan Meus as the opportunistic artist agent Max Dettweiler, Thomas Lüllig as the Nazi servant Franz and Christine Zart as the resolutely understanding housekeeper Frau Schmidt provide vital characters. Unlike in the film, when Elsa Schrader (Cordula Rochler) first appears, it is not yet clear whether she or Maria will be in the running for the place alongside Captain Trapp. First because of her bon vivant attitude towards the children, and then towards the National Socialists, Elsa ditches herself. The flirts between Trapp's eldest daughter Liesl (Carmen Kirschner) and Rolf Gruber (Emil Schwarz), the brown shirt who enabled the family to escape, are also moving. This figure shows how strongly Bernd Mottl relies on the humanity of the piece. Also to Michael Jeske as Captain Trapp, who has an exceptionally hard and rumbling shell before the slow exposure of his soft core. Jeske is not a cavalier with a light breastplate, but a tough dragoon whose emotional conquest even non-nuns would have reached their limits. "My Fair Lady", "Hello Dolly", "The Sound of Music"... - in Meiningen it becomes clear that this piece belongs to the Broadway pattern "The Taming of the Shrew". Manuel Bethe designed the nun scenes with the women's choir at the level of madrigalists. Marianne Schechtel is more a therapist than a superior, making the Nonnenbergstift a very pleasant place to be. The levels simply balance between political thunder and islands of bliss. The final applause is for a performance in a successful proportion of cheerfulness and depth.

At the Staatstheater Meiningen you can currently marvel at a lively picture by Markus Lüpertz: The painter not only painted the stage design and costumes, but also took over the direction of "La Bohème". It is a premiere of a special kind: at the age of 80, the painter Markus Lüpertz staged his first opera with Puccini's "La Bohème" at the Staatstheater in Meiningen. The gloomy stage design he painted reflects his own Berlin bohemian period, which he experienced as dark, cold and poor, says our critic Uwe Friedrich. Lüpertz has also painted the costumes of the singers, who step forward during their performances and sing to the audience. As a result, the whole thing looks like a lively Lüpertz image. Overall, Friedrich's production is reminiscent of paper theatre, as was very popular among the bourgeoisie in the 19th century. But there is little to be felt here of a psychologization of the characters or of emotionality, Friedrich judges. A successful excursion into directing, nothing more The production is also involuntarily funny in places and overall a "beautiful, really good ensemble theater at a German city or state theater". The conclusion of our critic: A short, entertaining opera that you like to watch. "This is all very beautiful, very decorative. Lüpertz himself has said that he does not see himself as a director. However, I also find that reassuring. This is an excursion that I find successful overall, if you completely refrain from the psychologization of the characters, but want to see a basically extremely conservative view of "La Bohème".

The eagerly awaited directorial debut of painter prince Markus Lüpertz in Meiningen was acclaimed by the premiere audience.Premiere or vernissage? That was the question here. Markus Lüpertz as an opera director, after everything that could be heard from him in advance, could only become an opera from the spirit of painting. The eager opera-goer has done the furnishings more often. However, the refreshingly vital-looking eighty-year-old has never directed it himself. The painter prince no longer wants to become a director In Meiningen he had Maximilian Eisenacher, a co-director for purely artisanal work, at his side. At the press conference, shortly before the premiere, Lüpertz admitted with his typical serene self-irony that he did not intend to become an opera director now. Of course, he did not try to hide the fact that he enjoyed the attention he received. The contradiction mentioned between his clear criticism of the currently dominant way of staging opera as an entertainment event and what happened in Meiningen with and around him for this premiere, he acknowledged with a smile with the remark that he was just a professional artist and lived from his notoriety. Will former Chancellor Gerhard Schröder appear? Former Chancellor Gerhard Schröder and his wife did not come to Meiningen for the directorial debut of painter friend Lüpertz – as already reported in the press. This announcement was part of the apron that the historic theatre location once again needed. But it would have been just an additional treat for the category Miscellaneous anyway. Overwriting of the umpteen times reproduced images? This "La Bohème" was already spectacular. Not only because this applies to every premiere in December of the second corona winter. Especially in areas with worrying numbers of infections. The new artistic director Jens Neundorff von Enzberg in Meiningen and his star guest have caught the right time window. As many spectators as were allowed to fill the rows in a well-masked manner and at the end thoroughly cheered a version of opera that is not common today. Whereby the aura celebrated in Puccini's "La Bohème" above the rooftops of Paris, with artists' existences that freeze, starve, are in arrears with the rent and still live and love, particularly invite an overwriting of the umpteen times reproduced pictures of this repertoire perennial favorite. In addition, with the central love story between Mimì and Rodolfo, which ends with the inevitable death of the young woman. With Puccini's great, languishing tone, his scenic confrontation with a contemporary extension into the afflictions of our present is almost obvious for ambitious directors. In your mind's eye, you can literally see the associative video worlds with images from an increasingly fragmented society, including the diffuse threats posed by global uncertainties. Including the current pandemic threats, which in fact affect every theatre in a very concrete existential way. Opera becomes two-dimensional Lüpertz puts the exact opposite of this on stage and thus for discussion. He insists on his art, on painting and thus first of all on two-dimensionality and color. He does not let movement become a problem because he deliberately refers to the ramp singing and a gesture between baroque theatre and commedia dell'arte. With him, so to speak, all paths lead through the middle to the ramp. From there, the face to the audience is smashed or languished, which holds the stuff. And what the gripping sound that GMD Philippe Bach and the Hofkapelle courageously contribute from the trench requires or allows. Depending on the. Still life on the easel Visually, there is a small stove in the artist's residence against a dark gloomy background (in which the few pages of manuscript paper blaze surprisingly long), two skylights on the floor and an easel, on which a still life is then applied instead of solid food. The costumes are colorful throughout, the make-up strong. All of them are good with a powerful voice. The choir, rehearsed by Manuel Bethe, is juicy green with red caps and has its grand entrance in the Café Momus picture as a decorative Christmas tree with candles in the background. Painter Marcello armed with color palette Whether the butterfly tenor Alex Kim as Rodolfo or Julian Younjin Kim as the painter Marcello armed with color palette or Johannes Mooser, who is known as musician Schaunard due to his of course also two-dimensional instrument box, and Selcuk Hakan Tıraşoğlu, who walks as the philosopher Colline with an academic headdress. Monika Reinhard not only turns her Musetta into a vocal highlight, but also succeeds in taking the step from the two-dimensional sketch into the three-dimensional liveliness of coquetry. Especially when she plays her games with her current lover Alcindoro (Thomas Lüllig), the theater briefly gains the upper hand over painting. Of course, they all have their (sometimes involuntarily funny) ups and downs between the brochures staggered to the depth picture or the painted furniture. The fact that deniz Yetim, who sings convincingly throughout as Mimì and her Rodolfo, is not granted a spatial approach even in reconciliation, and even dies standing up, is not due to any rules of distance here, but to the approach of the painter, who sometimes attributes the plot solely to the music. Conclusion: Experiment successful The visual value of this Gesamtkunstwerk of staged painting with Puccini's music and three distinctly idiosyncratic poetic texts that the painter has written about it and which, performed by himself, are recorded off-screen is enormous. The personal statement that the painter Markus Lüpertz makes about music theatre direction is, of course, controversial. Overall, however, the experiment was a success. You were at a vernissage as well as in a premiere. Both had their own charm. But it also worked together for most viewers.

The conductor Juri Lebidev understands singers and instruments with a sense of justice obsessed with detail. His almost telepathic presence becomes an indispensable prerequisite for the trust between the stage and the pit, which made this blissful operatic event possible in the first place. The premiere and the performance the following afternoon were enthusiastically celebrated by those who had come and subscribers with unusual persistence.In "La clemenza di Scipione" all the singers have a parade number or at least a better stage coup thanks to Wilgenbus. Sara-Maria Saalmann asked for kind indulgence before the second performance. Unfounded. In addition to all the other requirements, she mastered her great aria with solo instruments in concert with bravura. In terms of structure, melos and ornamentation, this huge piece is amazingly similar to Konstanze's dreaded martyrdom aria from "Die Entführung aus dem Seraglio". Alexandra Scherrmann, as Arsinda's sister Idalba, proceeds even more confidently with coloraturas of emphatic lightness and physical frivolity, even when the powerful Marzius swings the raw leg of meat. Johannes Mooser finds the right vocal compromise between hero and poltergeist.With a tenor that is minimally throaty in the depths and clearer and clearer towards the top, Martin Lechleitner recommends himself as a Scipio who appreciates love more than war for larger tasks in the Mozart repertoire. It is astonishing this time how Onur Abaci as Luceius lets all difficulties of the soprano castrato part be forgotten. In the large duet, Saalmann's soft entrances merge with Abaci's virile and at the same time flexible, nuanced intonation in such a way that the two voices can hardly be distinguished. A deluxe plea for Johann Christian Bach! Hopefully this is only the prelude to further discoveries of operas in Eisenach.

One has to thank three initiators for the first own opera production in the Landestheater Eisenach. Jens Neundorff von Enzberg, the new director of the Meiningen State Theater, has more plans for the beautiful Bürgertheater in Rot und Weiß than guest performances by Meininger productions, as has been the case since the last renovation ten years ago. Director Dominik Wilgenbus brought him to Johann Christian Bach in his search for music theater works connected with the region. The Thuringia Philharmonic Gotha-Eisenach, not particularly familiar with early music, did an excellent job in “La clemenza di Scipione”. The premiere weekend became a great moment and a festival of voices.