Tyrolean State Theatre in Innsbruck / Vélemények

Ein atemberaubender Moment, wenn sich zu Oberons (Sascha Zarrabi) wehmütiger Arie die Bühne zum magischen Feenwald erhebt.

An Operneffekten mangelt es dabei nicht: [...] Mächtig erscheint Fürstin Titania (A_nastasiaLerman), besonders beeindruckt Oberon (SaschaZarrabi).Unterm Strich Musiktheater als [...] sehr bilderreiches Philosophieren über Liebe und Geliebt-werden-wollen.

Ein atemberaubender Moment, wenn sich zu Oberons (Sascha Zarrabi) wehmütiger Arie die Bühne zum magischen Feenwald erhebt.

An Operneffekten mangelt es dabei nicht: [...] Mächtig erscheint Fürstin Titania (A_nastasiaLerman), besonders beeindruckt Oberon (SaschaZarrabi).Unterm Strich Musiktheater als [...] sehr bilderreiches Philosophieren über Liebe und Geliebt-werden-wollen.

(...) Wen soll man aus einem außerordentlich spielfreudigen, stimmlich souveränen Ensemble noch hervorheben? Truffaldino, Spaßmacher von Berufs Wegen [und] noch mehr Anti-Held. Sascha Zarrabi spielt ihn hinreißend und ist ihm auch stimmlich gewachsen.

Die guten Geister, das sind der differenziert singende und darstellerisch hervorragende Sascha Zarrabi als Hofnarr Truffaldino (...)

Andreas Mattersberger brillierte als Orest mit klarer Grabesstimme" Andreas Mattersberger brilliant as Orest. (APA/ Austria Presse Agentur, 12.06.2023)

"...Sängerbesetzung der Luxusklasse...Andreas Mattersberger als Orest...mit seinem kraftvollen Bassbariton stand er den drei exzellenten Protagonistinnen um nichts nach." "...a luxury class cast of singers...Andreas Mattersberger as Orest...with his powerful bass-baritone he was in no way inferior to the three excellent protagonists." (Dr. Franz Gratl, Kronen Zeitung, 13.06.2023 ​

Als hervorragend erwies sich (...) der in der Höhe so wendige und biegsame Tenor Sascha Zarrabi als Hirte Philip und Bote.

Als hervorragend erwies sich (...) der in der Höhe so wendige und biegsame Tenor Sascha Zarrabi als Hirte Philip und Bote.

As the theater director La Roche, Michael Hauenstein looked and acted the part perfectly, producing an emotional and nuanced performance. His commanding presence meant he dominated proceedings, and convincingly organized the entertainments. Hauenstein’s La Roche, sometimes cynical and always practical, was portrayed as a multifaceted and sympathetic character, no more so than in his emotionally spirited defense of the theater and his attack on the compliant audience, in which his voice was almost trembling with anger. He has a strong, powerful and flexible voice, which he uses with a great deal of control, and to great effect. Throughout the opera La Roche is involved in all sorts of discussions – humorous, angry, frustrated, practical – and Hauenstein is able to convincingly characterize his voice accordingly, altering tone, coloring, and dynamics with apparent ease.

Die Palme des Abends gebührt diesmal nicht der Primadonna, sondern dem überragenden Theaterdirektor La Roche in Person von Michael Hauenstein. Er ist das Kraftzentrum des Abends, singt prächtigst (allzu viele Bassisten mit einer ähnlich herrlich timbrierten Stimme gibt es momentan nicht) und ist szenisch stets präsent. Seine leidenschaftlich vorgetragene Verteidigung (Holla, Ihr Streiter in Apoll) zeigt Hauensteins überragende künstlerische Bandbreite auf. Kein Wunder, dass die Zürcher Oper diese Sängerbegabung ab 2017/18 als neues Ensemblemitglied begrüssen wird.

"Martha oder der Markt zu Richmond" was Friedrich von Flotow's big opera hit from 1847. And if the cheering audience at the premiere has anything to do with it, that will also be true in Innsbruck. Seokwon Hong is at the helm of the playful TSOI. The Kapellmeister does not always choose the ideal tempi - at the beginning of the second act there are audible bumps between the orchestra and the stage - but the music is still fiery. The chorus and extra chorus were finely rehearsed by Michel Roberge, and the romantic choruses reach the audience powerfully. Susanne Langbein shines as "Martha", who enjoys the role up to the top notes and never really seems overwhelmed. Camilla Lehmeier as "Nancy" is ideally cast, she also convinces with mischievous acting. Bass-baritone Andreas Mattersberger shows himself from the best side as "Plumkett". Vocally powerful, bombproof and wonderful as an actor, he sings his way into the hearts of the audience. Joshua Whitener doesn't look quite as safe as "Lyonel". Clean in the high register, expressive and present, nevertheless he has problems with the German language in some passages. Johannes Maria Wimmer is also perfectly cast as Lord Tristan. Thanks to the costumes by Michael D. Zimmermann and the careful direction by Anette Leistenschneider, Andreas Becker's stage looks like a perfect triumvirate. Conclusion: A sparkling, funny, carefree evening at the opera.

It has become quiet about the world success of Friedrich von Flotow (1812 - 1883). After all, his opera, which premiered in Vienna on November 25th, 1847, was in the second half of the 19th century. the world's most performed opera. No tenor of any repute missed Lyonel's parade aria “Ach, so fromm”, no soprano missed the simple folk song “Last Rose”, in whatever language. After an absence of almost 50 years, von Flotow's successful opera returned to the TLT stage and was welcomed with open arms by the applauding premiere audience. The local opera management always succeeds in bringing highly talented young singers together to form a cohesive ensemble. In the demanding, sometimes underestimated title role, audience favorite Susanne Langbein achieved great success. Her charming voice has gained in volume, the coloratura is sparkling, the "Last Rose" is performed free of operatic pathos. Thanks to her girlish appearance and her talent for playing, she is - with all due respect - an acoustic and optical "treat". Camilla Lehmeier, blessed with a particularly melodious mezzo-soprano and an exuberant joy of playing, represents a luxury cast for Lady Harriet's (= Martha) confidante Nancy. No wonder that the initially rough tenant Plumkett (Andreas Mattersberger) falls in love with her right away . The internationally active and successful East Tyrolean bassist, who is extraordinarily popular in Innsbruck, with the magnificently developed vocal material, has found a new parade part with this role, with which he can succeed, especially since he also knows how to convince as an actor. You can already look forward to your Leporello next season. The American tenor Joshua Whitener was engaged and warmly celebrated for the Lyonel. A Lyonel straight out of a picture book – charming appearance, sensitive playing and equipped with a radiant, beautifully timbred lyrical tenor – opera heart, what more could you want?

The Landestheater Innsbruck tried this recipe in the opening premiere of the new season "Der Freischütz" by the same. Good spirits are currently needed in the hard corona times in the cultural sector. Director Johann Reitmeierhimself mixes the ingredients in a spicy way. He reaches into his bag of tricks and combines light effects, video installations and props with a dash of Masonic symbols. The evening will be rich in images, colorful and pleasingly bright. Luminous targets rotate or deer hang from the ceiling. The men's choir aims many rifle barrels at Agathe and Max, a large stuffed eagle is celebrated, the father's image is overpowering. Thomas Dörfler delivers a modern-looking stage design that can be easily changed by light. A large wooden floor, a few wooden boards that serve as walls. The Wolfsschlucht seems alienated, as a cube rises out of nothing. The mysterious free balls are cast in a baptismal font. Susanne Langbein manages to slip into the role of Agathe in a sympathetically convincing manner. With her strong, pathetically colored soprano, she effortlessly reaches the heights, but also remains full-bodied in the middle register. Jardena Flückinger portrays her relative and diligent, caring friend Ännchen with great acting talent. Her soprano voice sounds youthfully light, but more balanced in some places too small. Andreas Hermann puts a lot of pathos into the role of the hapless Max, letting his lyrical tenor flourish again and again in the top notes and legati, but the voice does not remain stable and loses color in the lower registers. Andreas Mattersbergersucceeds in his opponent Kaspar a strong drawing of the person. Vocally, too, he demonstrates his powerful bass and lets the depths sound demonic. The Icelander Unnsteinn Arnason also succeeds in this . With his tall stature he causes a stir, with his powerful voice he gives the good the victorious power and dissolves grief into redemption.

Carl Maria von Weber's romantic opera "Der Freischütz" with unknown additions told in an acclaimed new production at the Tiroler Landestheater. Innsbruck – “Hunting is an ancient craft. And as controversial as it may be, it is undisputed that we hunters follow an instinct that is archaic, irrational and subconscious.” This is how the editorial for the German hunter’s magazine from June 2019 begins, before Waidmannsheil is wished for at the end Guild, and the Innsbruck "Freischütz" team of the theater guild has its production just as well thought out with critical seriousness. The result is a convincing production on a contemporary basis with historical references, with a rarity due to the recitatives by Hector Berlioz and with psychological logic, which suggests the story with Carl Maria von Weber's wonderful music to the audience without any unanswered questions. With a dark bass-baritone and the aura of the humiliated darkling, Andreas Mattersberger shows Kaspar's demonry, while Andrea De Majo has the creeping, creeping quality of imagined evil. Imposing Unnsteinn Árnason's hermit. The smaller roles with Alec Avedissian, Joachim Seipp, Ana Akhmeteli, Bernadette Müller, Renate Fankhauser and Dagmara Kołodziej-Gorczyczyn´ska are also ideally cast.

Tenor Sascha Zarrabi showed off his pleasing tenor with convincing performances in the roles of the monk, Missail, and a boyar.

Boris Godunow am Landestheater: Viel Pathos und ein Schuss Hollywood

"Nel ruolo del titolo Judith Spießer illumina il personaggio con fraseggio sensibile, capace di sciorinare canto virtuoso di ottima fattura e lirismo profondo ed emozionante. L’attrice è alla pari convincente ed intensa" (...)

(…) Lakmé kann gleich zu ihrem ersten Auftritt vom Himmel schweben und ihre überirdischen Kräfte durch göttlich hohe und zarte Töne beweisen. Judith Spießer erfüllt mit ihrem betörenden und lupenreinen Sopran alle Vorraussetzungen für die enorm fordernde, stimmakrobatische und gestaltungsintensive Partie. (…)