Yvonne Forster / Léirmheasanna

The Theater Hagen is now showing Anatevka ( Fiddler on the Roof ) as a life-packed milieu study somewhere between tragedy and comedy. The production is already a theatrical success at the premiere, which was not experienced in Hagen for a long time, even before Corona. The audience immediately stands up and applauds a committed ensemble and an excellent orchestra. […] Anatevka is the first production in 18 months that the Hagen Theater has been able to show with a full cast; Over 50 participants, soloists, almost all guests, the great, individually led choir, ballet, extras act on the stage, 30 musicians play in the pit with the conductor, and the audience enjoys the opulent performance with the many dance numbers.

o, this Anatevka, situated somewhere in the Ukrainian no man's land, was never beautiful. Poverty, gossip and gossip characterize life, and the coexistence of the Jewish community with the Christian-Russian community in 1905 works more poorly than well. At best they avoid each other, at worst they bully each other. And what is held up as "tradition" cements the hierarchies. It's not a folkloric idyll, but a run-down shtetl, a small town district - Tevje, the main character, is a milkman and not a farmer. Director Thomas Weber-Schallauer points this out in the program booklet, and the unadorned stage with faceless house facades that seem to overwhelm life (stage design: Alfred Peter) underlines that although the rapid change between indoor and outdoor spaces sometimes looks quite improvised. The clichés of Jewish coexistence shouldn't be used excessively, whereby the costumes (Yvonne Forster) are quite traditional - and the choreography (Ricardo De Nigris), who tries very hard anyway, can't think of much else. But all in all, it manages very well to keep the balance between a world that never heals but is nevertheless secure and the reality of expulsion and homelessness in which the play ends.

In Linz hat man dafür Ilona Revolskaya und Anna Alàs i Jové verpflichtet, und die beiden machen das ganz wundervoll. Revolskaya leiht der Giulietta neben ihrem optischen Liebreiz auch ihren daunenweichen und schneeflockenreinen Sopran, Anna Alàs i Jové führt ihren klaren, fokussierten Mezzo mit kämpferischer Attitüde. Ein berührendes Paar.

Mezzo Anna Alàs i Jové läßt Romeo förmlich über die Bühne wirbeln, eine quicklebendige, dabei grundsympathische Kretz’n, der man auch die ehrlich große Liebe abnimmt. Und das mit einer einfach gewaltigen Stimme! Wir sind zwar nicht die bedingungslosen Freunde des Szenenapplauses, aber dieser Romeo hätte schon nach seinem feurig-heftigen ersten Auftritt „Se Romeo t’uccise un figlio“ ein tobendes Haus verdient…