Packende Brutalität: Calixto Bieitos Carmen an der Wiener Staatsoper

Equally, whoever man is happy – packing and endruckend is Calixto Bieitos Inszenierung von Georges Bizets Carmen every Bad on New. Free from castanets-kitsch and without victim-blaming of the kind “that is a fatal woman who is sold by the poor to murderous power” the director sees who in the Grunde anyway a brutal Handlung rund a poisonous man, Beziehungsgewalt and Femizid as a mitreißenden Thriller. If you reduce this, you should see the picture with an effective effect of light and mist while making an unobstructed movement; A moment that focuses attention on the moment that the focus is on learning to see the main characters. Before it goes naturally, the singers are put in the spotlight, who are verstehen, a figure that is filled with life – and that is dependent on the new season of the Vienna State Opera that has developed.

If Carmen had lived through a much greater war, Aigul Akhmetshina, who now made her debut at the State Opera with the Vorstellungsserie – and it was a thing! If my voice is a perfect light for this role; from my Präzision-gesetzten Spitzenteönen over the golden-together Mittellage voll Substanz up to the hilt in powerful necks, your mezzo-soprano flows bruchlos through the part and elegantly smothers herself with a cat and Bizet’s notes. If you are coquettish, then you describe alone with your voice in radiant colours the fascination of leisure and how you get a frightening feeling of the drama that will do everything in the last sense of the word. And if all goes well, it is worth playing in the Rolle-wirft, painting, painting and removing the raw content. Short: better is not!

As actually insufferable soldiers, but first urgent signal aggression problem in the grip must be overcome and besides as mothers are still the definition of technical visionary red flag, Vittorio Grigolo the Don José one and offers, which his niece would otherwise see, a leading interpretation on each Ebene. Often it becomes difficult and then dramatically put on the wall again, it is an impulse, a package of a wide palette and a color in the interpretation and the display of the suffocating escalation of the characters that vocally (and a treasure storyteller!) nachvollziehbar. A few of the most used weapons are so much that the text hangs in the direction of the stimulation and that is now no longer so good, while the tenor voll Schmelz can be a man who a herrlich schwelgen.

A long journey from Micaëla brought Elsa Dreisig to the stage of the State Opera: You can see the names in the picture as well as in the performance as well as with a strong sense of the right mix with a clear sense of humor and soul-stretching bestimmtheit. So the fieberte man with his etwa in the duet of his first activities goes with a hätte ihr – wüsste man als Zuschauer nicht bereits von seiner gewalttätigkeit – zu diesem Zeitpunkt beinahe a Happy End with Don José gewünscht; above all, if the impulses of Grigolo and Dreisig have ideal connections and both have the freshest Liebschaft, and the eigentlich nur noch Micaëla zu hangen shinten, are nuancert gestalteten. Dreisig’s Soprano shimmers in the basic structure and shines brightly in the high range, even in the finely spun Piani in its greater Arie, which is its farbenreich in the Raum malte.

Not so much and the same as a few years ago Erwin Schrotts Stimme in der Auftrittsarie des Escamillo; When the problem arises, the first moment you can make a (vocal and narratical) discovery. If you then get a sum of money, it is more fun to be the arrogant Bullfighter, Carmen came with the Finger and provoked im controlled by the roguish Don José.

When the smaller roles are performed – and here you see how the statistics are made explicit, but those settings are not the first functional words! – were ausgezeichnet besetzt; Isabel Signoret is impressed by a warm and warm Mercédès and Ilja Kazakov, the unsympathetic Zuniga with Schönklang author, who is positive. They are the best available and with much playing pleasure the children’s choir can come together in both their parents.

The Orchestra of the Vienna State Opera was formed by the first Tone, an energetic firework and an enthusiastic one-man show with a brilliant total sound and other one-man shows with re-formulating soloists – such as written by the Horns in the Act. Conductor Pier Giorgio Morandi was concerned with the temporary punishment and the long breath, which the fatalistic leader called for a successful Leichenschaft, eight times that he sat on a fine abstimmung of the dynamics with the Soloists on the stage. The high musical cast and that of the combination lies in the combination with the summer temperature of the season, which definitely brings up a larger part of the southern Spanish feeling and the Danube.

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