Category: Falstaff staatsoper hamburg kritik

FesttagePremiereStaatsoper Berlin. Die Staatsoper Berlin bringt einen neuen Falstaff. Die musikalische Leitung hat Daniel Barenboim. Martone, Italiener, u.

Wir sehen eine prickelnd frische Pool- und Planschszene 2. Bild, 1. Sonst nichts. Und aus der zwielichtigen Maskeradenszene im Park zu Windsor spricht pure Hilflosigkeit.

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Das ist witzig, meist nett anzusehen, clever-routiniert durch den Regie-Wolf gedreht. Nowie man mit Falstaff, sekundiert von einem trockenen Achtel mit Vorschlag von Fagott und A-Klarinette, sagen muss. Dabei seien die Meriten dieser pragmatischen, handfesten, flott-direkt auf Lacher kalkulierten Inszenierung gar nicht verschwiegen. Sie lauten Publikumstauglichkeit, Publikumstauglichkeit, Publikumstauglichkeit. Der Bauch: kein Wanst, nur eine Ausbeulung.

Ein feuriger Alter. Und Sex-Appeal. In Unterhose und Badeschlappen: Wie konnte es nur so weit mit dem Adel kommen? Zu Beginn der Jammerarie Mondo ladro.

Mondo rubaldo. Volle ist ein Expressionist, kein Techniker.

falstaff staatsoper hamburg kritik

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falstaff staatsoper hamburg kritik

World Show more World. US Show more US.Save pre-sale start. Sir John Falstaff, the enormous, immense Falstaff, as he enthusiastically calls himself, is in dire straits. His belly, his greatest pride, synonymous with his stateliness, requires constant maintenance in the form of an over-abundant supply of food and drinks. His means are therefore exhausted. Almost fifty years after his early piece, Un giorno di regnowas not a roaring success, he dared approach the Shakespearean material, congenially prepared by his librettist, Arrigo Boito.

Verdi followed the libretto with a detailed, fully composed tour de force full of wit and depth, in which the driving grotesque is set just as unrivalled in music as the lyrical moments are. While Falstaff confirms that he committed the despicable acts in question with pleasure, the other two accused deny the allegations. Sir John has urgent business: The empty purse must be filled, for his renowned belly is in danger of shrinking. Therefore, he has penned identically-worded love letters to two rich ladies, Alice Ford and Meg Page.

However, Bardolfo and Pistola refuse to deliver the letters. Their honour will not allow it. Falstaff is furious. Calling down curses upon the very idea of honour he chases Bardolfo and Pistola away. He sees that the letters are delivered by other means. Alice Ford is excited. If she wanted to, she tells her friend Meg Page, she could become an aristocrat. So too could she, replies her friend. Each of the women then shows the other a letter. The women are outraged, both at the presumptuousness and at the identical wording of the letters.

Mrs Quickly shall convey an invitation to a rendezvous with Alice.

Opern-Kritik: Staatsoper Hamburg – Falstaff

Should he respond to the invitation, they shall teach him a lesson. Falstaff faces adversity on other fronts, too. Ford is confident of his ability to defend himself. He intends to seek out Falstaff under a false name and set a trap for him. Sir John receives them back graciously. Mrs Quickly requests an audience. At this time her equally jealous husband will be out of the house. Falstaff accepts the invitation and dismisses the messenger Mrs Quickly. No sooner has she left than the next visitor is announced.

A gentleman by the name of Fontana requests to be given priority, drawing attention to the wine bottle in his possession. Falstaff receives Signor Fontana who is none other than Ford in disguise. He tells of his apparent heartache: Alice Ford, with whom he is in love, refuses to acknowledge him.

If Falstaff, though, being a man of the world, were to seduce Alice, then this would perhaps break her resistance to his own advances. For his trouble, Ford in his guise as Fontana offers Falstaff a bag of gold. Falstaff magnanimously accepts.Stage director — Calixto Bieito. Staatsoper, Hamburg, Germany.

Verdis Falstaff in Hamburg: Toilette als Kraftwerk der Sinnbildung

Sunday, January 19th, One might not immediately associate a director with such a strong social conscience as Calixto Bieito with comedy, but in assigning him this Falstaffthe Staatsoper Hamburg has given us a delectably engaging evening — just the medicine needed in these dark days.

Bieito sets the action within and without a remarkably authentic British pub, one that could definitely belong in Windsor, or indeed any other small British town. Similarly, the merry wives of Windsor are a bunch of ladies equally fond of a good time in their own way. Similarly, the marital tension between Ford and Alice, each trying to outdo the other, was palpable.

Of course, any performance of Falstaff lives in the chemistry of the assembled cast and the sheer joy that this cast clearly had in performing this production, spraying sparkling wine over the stage, or horsing around in their fancy dress, was absolutely infectious. This was an utterly uplifting evening, founded on an ensemble cast that evidently adored working with each other. Tonight was different.

It seemed that Maestri has found an even greater freedom and authority in his interpretation of the role, integrating himself even more into the character and throwing himself into everything asked of him. The voice is huge and dispatched with genuinely uninhibited service to his character. The familiarity that Maestri has with the role meant that it was impossible to tell where Ambrogio began and Falstaff ended — especially as, thanks to his native diction, everything was sung off the text and the tone varied with finesse.

Maestri gave us a literal giant of a performance tonight. He was joined by an irresistible quartet of ladies. Maija Kovalevska was an equally uninhibited Alice, singing her music with a warmly lyrical soprano and an open, generous tone. Ida Aldrian savoured the text delightfully as Meg, the voice full of orange-toned juiciness. Nadezhda Karyazina sang Quickly with an agreeably tart mezzo, with copper-toned sheen and registers even. Elbenita Kajtazi was a lovely Nannetta, floating her high sustained writing with deliciously feather-light ease, the voice seemingly floating on air.

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Her Fenton was Oleksiy Palchykov who at first sounded a little too robust, with the voice sitting just under the note. By Act 3, he had warmed up nicely, tuning improved and he sang with ardent lyricism. He was also very game, running around the stage in his underwear after Ford discovered him and Nannetta in bed.


The text was always nicely forward and he was alive to the wit and the comedy as he disguised himself as Fontana. In the further supporting roles, Daniel Kluge was a terrific Bardolfo, blessed with fantastic comic timing, his sandy tenor a good size and the pointing of the text full of wit.

The house chorus also seemed to be enjoying themselves thoroughly in their fancy dress attire. The ladies had some initial pitch disagreements, but got there soon enough, and the closing fugue was just as energetic as it needed to be. He brought out so many colours in the brass, hints of composers yet to come such as Stravinsky or Shostakovich perhaps, making this glorious score sound like the start of a new musical era, rather than the end.In Hamburg inszeniert Calixto Bieito die Geschichte nun in deftigen Bildern, temporeich, aber szenisch banal.

Falstaff Altersweise Einsichten? Cajus anvertrauen. Diesen hat Ford also mit Cajus verheiratet.

falstaff staatsoper hamburg kritik

Gelbes T-Shirt, Jeans, Turnschuhe. Bei Verdi, Boito und Shakespeare geht es subtiler zu. Neben dem grandiosen Ambrogio Maestri als Falstaff begeisterten die Sopranistin Maija Kovalevska als stimmlich und darstellerisch facettenreiche Strippenzieherin Alice Ford, genauso wie ihre Sekundantin und Mezzosopranistin Nadezhda Karyazina als Mrs. Startseite Musikjournal Falstaff in der Glashaus-Toilette Mehr zum Thema Falstaff Altersweise Einsichten? Debatte um Privilegien Her mit dem digitalen Impfpass!

Erwiderung auf Wolfgang Thierse Privilegien und Machtpositionen als solche erkennen. Deutsche Bischofskonferenz Ein Paralleluniversum der frohen Botschaften. Plattformarbeit Braucht Crowdworking neue Regeln? Der Tag Was die AfD will. Corona-Impfstoffe 2. Kulturdebatten abseits des Feuilletons Die Gonzos des Gaming. Kompromiss um australisches Mediengesetz "Klingt toll - ist es aber nicht".

Urteil zum "Adenauer-Fernsehen" Meilenstein der deutschen Medienpolitik.Den Regisseur schert das nicht.

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Einige wenige Lacher merken alsbald, dass sie unter ihrem Niveau gelacht haben, und verstummen. Von der rhythmischen Symmetrie der Szenen und von dem mehrschichtigen szenischen Geschehen ist nichts zu erkennen.

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Staatsoper Hamburg: Premiere von Verdis letzter Oper „Falstaff“

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Bitte geben Sie hier den oben gezeigten Sicherheitscode ein. Abbrechen Versenden.Sie haben sich erfolgreich abgemeldet! Trotz allem, was er tat; trotz allem, was ihm, verdient oder nicht, angetan wurde. Doch es ist alles, was Oper nun mal sein sollte: aufrichtig.

Katharsis und so. Andererseits: reizvolle Idee, diese Besetzung derart krass gegen den Konventionen-Strich. Quickly von Nadezhda Karyazina ist ein beeindruckendes Mezzo-Gegengewicht und Oleksiy Palchykov als jugendlicher Liebhaber Fenton ein erfreulicher supporting tenor. Sein Verdi ist sehr auf pauschale Sicherheit und Ordnung ausgerichtet. Und wartet.

Doch bis sie begeistern und funkeln, bis man Verdis geniale Szenenzauberer-Handschrift angemessen erkennt, verging einige Zeit am Premierenabend.

Erst auf der Zielgeraden des dritten Akts wird es gleichzeitig fein und finster. Ganz im Gegensatz zu Falstaff, der beim Alle-gegen-einen verdroschen wird. Weitere Termine: Karten 6 bis Euro unter T.

Eintritt frei. Abmeldung Sie haben sich erfolgreich abgemeldet! Angemeldet bleiben Jetzt abmelden! Joachim Mischke. Links zum Artikel. Hier finden Sie alle aktuellen Kritiken des Abendblattes.