Who wants to know something about the life of the Bohemian in the year 2019, you should have created to read the opinions on the “re-allocation of the concept promotion for the years from 2020 to 2023”, the Ute buesing, Sandra Umathum, and Frank Schmidt, commissioned by the Berlin cultural administration. “Far too small a Gage for multi-week trial periods, or ideas” are in the Off-scene “the rule,” it says. That artistic Director also examine “the tickets, or even cleaning toilets” is not a blatant exception, but a reality.
Even if culture Senator Klaus Lederer wants to increase the promotion of the free Theater: Without self-exploitation is the Art works beyond the subsidised institutions today. As Henri Murger in 1851, his “Scènes de la vie de Bohème,””wrote, which were later the template for Puccini’s Opera, clay gave it his Parisian protagonists, not even the hope of a state. Who succeeded, went under.
Some of the few with whom my fate was particularly good, found a patron who supported you in the hope that your future will radiate well on him. A happiness that was unexpected now the government is actually adequately-funded Comic Opera: The Abu Dhabi Festival has taken over a sixth of the cost of Production of Barrie Kosky’s new “Bohème”. In the context of the Emirati “cultural diplomacy” were also supported projects in Madrid, London and Paris financially. A specific Plan for a guest of the Komische Oper in the United Arab Emirates there are currently but still.
The Komishce Opera moves no longer below the radar of the big money
Kosky’s house, which is traditionally understood actually as a folk music theater, moves no longer below the radar of the big money. Kosky will give 2022 to his directorship, as he has now once again confirmed. Because of this, the Director had a good run, on all Premium houses staged at the Bayreuth festival is celebrated in the summer in Salzburg, debuts. Correspondingly high are the expectations, if Kosky staged a Blockbuster of the serious repertoire, also because of Puccini’s Hit sung here for the first time in German Translation, but also internationally compatible in Italian.
In deprimierendem grey Rufus Didwiszus has designed his stage image, the lead roofs of the Paris garret, were to him a source of inspiration. Faded black-and-white images from the early days of photography form the Backdrop for the performers of Driving on the largely empty stage. Practical and inexpensive this equipment works, how it is used of the smaller theaters of the city, the need to cope with narrow budgets. When the audience enters the hall, the curtain is already open, a tiny playing area at the ramp points to the top-floor Digs of the Bohemians. For the Café Momus scene, a few chairs, tables and street lamps are on, the revolving stage brought, and in the Barrière d’enfer-the image needs to submit a return prospectus.
It is the people that matters here, posits this scenic sparseness. Victoria Behr has put in cheeky costumes that remind the aesthetic of the twenty years, but here and there also with modern Details are beefed up. There are shrill Harlots and nuns with oversized wing dome in the mass scene, the male residents of the artists-WG to wear fashionable suits, wide stripes, large plaid, or in velvety Purple shimmer.
a Cute guy, Chen, Kosky makes carefree fooling around. Already in the first minutes of the Quartet jumping devil stick moves on the few square metres that spectators can become dizzy. Constantly the hatch slams to the roof of the chamber, and even the presence of the landlord Benoit, otherwise a Mini-application for a deserved member of the ensemble, to play the Four here by yourself, with rapidly changing roles.
Jordan de Souza conducts an extremely vital Puccini
But Kosky can do even more, makes the Restaurant Episode of the hidden object, in which the soloists are rising continuously on chairs, their excitement, while the choir and the extras gesticulate so wildly, so frantically confused muddle that even the music in General Tohowabohu is in danger of sinking. This Jordan de Souza conducts a precise, enormously vital Puccini. For sentimentality, the 1 has. Kapellmeister of the house of the little that remained, he didn’t want to revel in the Kitsch, or in Larmoyanz exude. No, what interested him at the score, the tones, the bright lights, the energetic pulses that fire from the trench of the action. Like Jordan de Souza stops in the opening image again and again, musically, the breath, the General pauses, the Kosky scenic detail effects allow, then without loss of friction to continue, is a virtuoso. The already in his stylistic agility that is hard to match at the end of the orchestra follows him with an alertness, a Responsiveness that is unparalleled.
It’s great to see how the young baritone Daniel Fok from the Opera Studio of this Spirit be carried away, as sovereign, he acts as Schaunard between the other stage more experienced colleagues. But it is also unfortunate that the extremely high epinephrine levels of production encouraged some soloists to give a singer much too much Power. Günter Papendells Marcello, and especially Jonathan Tetelmans Rodolfo are so enervating speakers, especially the Tenor seems to be so intoxicated by his own power jet body, that he tries hardly to differentiation, not to those between shades of addiction, which from a vocal cord owners a character.
On the surface, a lot going on, deeper insights, but did not offer the Director
Nadja Mchantaf on the other hand, takes the role of Mimi, don’t want to be a Diva, but credible. The viewer is revealed in your sight the whole history of this girl who sought his fortune in the big city, and as a work slave of the merciless Manchester capitalism, their health ruined. Machantaf wins the heart, because she sounds like she’s playing, pure and innocent, blooming in the prospect of a little love at the beginning, deeply moving in her again, reigniting courage at the end.
Almost superficially Barrie Kosky Musetta, the other woman role of the workpiece to be treated. With her, he knows what to do right, the famous “Quando m’en vo” in any case, Vera must leave-Lotte Böcker solely on the seductive power of her soprano. After all, you can wear the most beautiful clothes. But here is the crux of the production is located. Superficially much is going on, everything looks good – deeper insights into the emotional life of the characters but, even new insights to the well-known piece is not to offer the Director. Kosky conventionally, an experience.
The memories it evokes of Times to the Century production of “Bohème” by Harry Kupfer, the delivery at the Komische Opera from 1982 to 2006, a record-breaking 357. How credible any soul emotion of the characters was staged in Gestures and glances translated as to exactly how the stage pictures of Reinhard Zimmermann met the atmosphere of the plot. The moon-drenched love duet in front of the mansard-roof landscape, later on the bench with high Backrest, on one side of the Mimi cowers, while on the other, Rodolfo, can’t you see, Marcello explains that your recovery there is no hope – unforgettable.
Again on 2, 8. and 14. February, and in March, April, may, and June.
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Premiere at the Komische Oper, one Never leaves completely
Ulrich penis
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