Pregledi pretekle produkcije
2Theo Lebow kommt kein bisschen in Atemnot in dessen furiosen Koloraturketten, während denen Contareno zu Bianca sogar handgreiflich wird. Dabei ist er nicht der einzige cholerische Koloratur-Tenor in Rossinis Schaffen, wohl aber einer von denen mit den längsten Gesangsphrasen. Lebow mischt Weichheit und Energie, gestaltet eigentlich nicht viril attackierend und überzeugt mit bemerkenswerter Kondition.
In the afternoons, the opera had Dshamilja Kaiser flown in as a substitute for Zanda Švēde, who was “seasonally indisposed”, and she sang in concert from the stage, while Švēde danced, mimed and moved her lips on the stage. With this, the mezzo-soprano saved the fourth resumption of the box office hit. Because when there are long admission lines in front of the Frankfurt Opera, you know: It's Barrie Kosky time. The Australian director landed a world hit in Frankfurt with Bizet's "Carmen" (...). His iconic, glittering revue caught on and became a crowd puller beyond the Main metropolis. At the fourth revival, patient viewers stood their legs in their stomachs. They were not disappointed: in addition to the successful “playback” by Dshamilja Kaiser, who also easily coped with the cooing, almost operetta-like early version of the Habanera, the few “newcomers” were also convincing: Adriana González 'outstanding “messa di voce” skills made them to a wonderfully sensitive Micaëla (...).
