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| © Sarah-Mari |
Tannhäuser is really always a brilliant spine-tingling opera! The Wagner himself simply does not nudelt Pomp and together with the super-duper chorus of the German Opera, he is truly unbeatable! And the soloists were mostly good. Above all, Petra Maria Schnitzer, I have been almost exactly a year before seen in this production and heard. It is time to my great good fortune for the ailing Nadja Michael stepped in and I think just about any singer better than Michael Well, they had not time to convince me that hard. Well, the Elisabeth, she sings a little more believable than Venus, but something is always .... ;) The Tanner Robert Gambill sang. Better than his Tristan, but I will with him not just warm. In addition, he had escaped at the end of the second act hardly any access to his voice, even if it made sense dramatically well be that he after he beat up, failed and a near-death, has something croaked, it has at the scene quite a bit of musical goosebumps potential taken. God, how I zurückgesehnt Stephen Gould at me: he has sung the role a year ago and has become my favorite favorite singers!
a real hit was in turn Ain Anger, the Landgrave Hermann has sung! I've never heard of him and was blown away! And Markus Brück (Wolfram von Eschenbach), and Clemens Bieber (Walther von der Vogel pasture) have made the evening music will be a highlight. The baton has Evan Rogister - first assistant of the General Music Director Donald Runnicles the house - over and done a really good. Accordingly, he was greeted with applause not to tight.
The staging (Kirsten Harms: soon to be ex-director of the German opera) I found a year ago major crap and it did not change anything. It is neither directed nor trumped them with something interesting Elements on stage. This looks cobbled together and unloving. to ship pimped women with breasts in the Venus hill, and to remember in the final frame with hospital beds to the historical figure of Saint Elizabeth hands me not as some sort of concept. And the question that arise each director must Tannhauser, namely whether Venus and Elisabeth are one and the same person, and especially Why or why not, remains unanswered. Kirsten Harms, although it does again and again: by the Venus à la Botticelli is almost bottomless long, slightly curly blonde hair, which will be finally taken by Elizabeth to chastise braided wreath around the head and end up dead Elisabeth (again) to Venus, but the why remains with the Why - namely on the track. The luck of the director and artistic director is the chorus, the high together with the dramatic music, down, forward and could be moved to the rear.
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