Needless to dwell on the Opera itsel i it or once again how composer and librettist will amble, isited by the same engineering o the theatre. O course, e erything is not per ect in the "Knight o the rose", and Richard Strauss as Hugo on Ho mannsthal is eared the anachronisms (o waltzes in 18th century) nor the peculiarities (such as a hair on the whipped cream, the marschallin arri es to untangle the con usion o the inal Act) which no music lo er is ne er complained.
This "comedy to music", as Dr. Strauss the appointed as imbued with spirit Mozart, could easily slip in the rococo Twee or the reconstruction o time. The Director, Philipp Himmelmann and its designer, Johannes Leiacker, pre erred the shock to the watercolour. In the irst Act, it is intrigued: only accessories, in the House o the marschallin, are stacked cushions, allowing the antics o the eather. Pitted on the ground, hundreds o alse roses to stem aggressi ely sti , the baron Ochs rustaud is trampling, as it will trample the pure and resh Sophie who is promised. A symbolic lourdaude and blinding, which does not take the distance. Because these same roses returned to the second Act, with their workplace chairs and so a 1930 wish , was changed to time!
Lang-Lessing takes his troops
And, while it is already las, are ound in the third, where the usual hostel ga e way to a sordid bouge, brasero and garbage bonus, where is ornique which better better on bare mattresses laid on the ground... in ull twenty- irst century. A solid direction o actors pre ents the production o sink into the ridiculous. And then the ulgarity has the right, particularly, as here, when it plays air play: once it is released, breathing becomes more than relie , a pleasure.
Since that it is in the hands o Sebastian Lang-Lessing, the Orchestra Symphony and lyric Nancy grew at high speed. I he can con ince in Wagner, Strauss asks still problem, in terms o texture, color. We would like a shimmering sound, illuminating an orchestration lush is a glare; It is too o ten massi e. Lang-Lessing irmly maintains its troops, ne er loses sight o the rhythmic oundation and the energy o the tempo. His speech has the build but might be more lexible.
Except or the lunatic Italian singer Dominic Natoli and dull aninal o Peter Edelmann, seconds roles, Michèle Lagrange (Marianne), rançois Piolino ( alzacchi), Marie-Thérèse Keller (Annina), are tasty.
Ridiculously mistaken in Lolita in seed, Henriette Bonde-Hansen camped a resh Sophie courted by the baron Ochs gra elly and o ten angry with correctness (the trac to a decision-making role) o Andrew Greenan. Heidi Brunner is a unequal Octa ian, which ound its oice stability and ambiguous character pro ile. All lost to Martina Sera in, maréchale o high lineage whose beauty and the nobility go hand in hand with a oice to the re lections o amber, an art o coating the words o a halo o poetry, a sincerity in lo e and a tact in pain that should he ery quickly open the doors to an international career.
leeing the iennese salons, Peter Himmelmann would ha e wanted to see lowers lourish on a pile o manure. Each his taste!