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at the International May Festival in Wiesbaden involved with the Mozart opera "Don Giovanni" in Carlos Wagner's staging

It is a good tradition that the host of the festival not only involved with the beginning of a new production, but also contributes a moving piece in a particular occupation. This year it is Mozart's "Don Giovanni" directed by Carlos Wagner, who had started with it in September last year, the Time. (review of 08/09/2009 ) As a guest, the baritone Thomas J. Mayer for the title role, Erwin Schrott as Leporello and his henchman, Swiss tenor Nernard judges had been obtained, which fits in seamlessly with the Wiesbaden-based ensemble.

Once again, the opera-goers were able to experience how the smart people led by Carlos Wagner perfect in every scene worked. Every moment has its own power, the scenes go easily into each other, without plot holes allow. Using Rifail Ajdarpasic and Ariane Isabell Unfried, who have chosen a more classical set and in the most unobtrusive costumes by Christof Cremer Wagner has created a timeless production that does not impose itself. Nevertheless, it does not bypass any conflict. Neither of the Giovanni, which allows excessive ego, no self-doubt, yet the impact of the social worlds of prekariösen couple, Zerlina and Masetto in the top layer of the Dons and Donnas.

Erwin Schrott Leporello is as pithy with lots of wit for the taking, Thomas J. Meyer is a powerfully convincing Don Giovanni. Bernard Judge clearly focused Don Ottavio is characterized by a very harsh design. Tatiana Plotnikova sensitive fills the Donna Anna to life. Stirring and with flawless, brilliant color height thrilled Aga Mikolaj as Donna Elvira. Under the leadership of Music Director Marc Piollet does the State Orchestra of lean and transparent, is proving to be extremely flexible and provides the idea an unwavering tonal foundation.


Published in the Frankfurter Neue Presse

See also: resumption of production by Peter Mussbach Frankfurt (08/03/2009)

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opera concertante evening with Baroque opera "The beautiful and faithful Ariadne by Johann Georg Conradi at the International May Festival. An evening without

nearly 300 years, they slept undiscovered before him. The opera "The beautiful and faithful Ariadne" was written in 1691 for the Hamburg Opera on Gänsmarkt citizens and discovered only in 1972. Incidentally, in 1722 the non-famous composer Reinhard Keiser's work to a libretto by Christian Heinrich Postel had worked once again. Johann Georg Conradi also enjoyed a certain popularity throughout his life, was among other things, some years employed as a conductor in Hamburg, having previously worked in Ansbach and Oettingen.

in Wiesbaden was now the "Ensemble Mattiacis" under the artistic direction of Thomas de Vries as far as possible this unknown opera accepted, though only in concert version in the sumptuous lobby of the State Theater, which is a perfectly adequate stage for the baroque work. The course of the story but this one was just not what would catch the light of the presentation certainly exciting yet. The sisters Ariadne and Theseus, Phaedra vie for the prince of Athens. Apparently has decided to Ariadne, but they can back to Naxos, to return to their sister back.

The Ensemble Mattiacis "could under the economical line of Répérant Yvon, from the harpsichord only a few Impulses seemed to convey the colors in the works in moderation. Too often intonation problems stood in the way, is very attracted to the musicians back in a little inspired routine. Vocally, however, the ensemble could convince the most part. Emma Pearson were very clear terms, direct response and a vibrant focus for an expressive Phaedra, Sharon Kempton was able to revive the emotional substantial margin between love and anger. Thomas de Vries' Minos became powerful but highly mobile, Theseus Gustavo Quaresma however somewhat schematically.


Published in the Frankfurter Neue Presse

Masterbation And Cholesterol,

but Joni Mitchell

Behind the stage is to see a colorful picture, which is not right circles, but certainly comes up with round forms, which lay close to a cyclical thoughts. The work of Sabine Gustke also adorns the cover of the just in time for the CD delivered last weekend by Annette Marquard, Kate Nelson and Tilmann Höhn. The two singers and guitarist have embarked together on a retrospective journey of Joni Mitchell, while at very different parts of her musical and personal life made station. In the intimate setting of the mirror room of the Walhalla-Theater now quite different moods were represented in the left the large audience to take you.

With her warm, powerful timbre Annette Marquard it had taken to interpret the title track. Musically, they explored the profound subtleties of the music from empathetic. With "River" Kate Nelson presented the first time that night their light and unobtrusive brilliant voice with the same empathy that should be in later in such an exciting contrast to the timbre of her colleague. "Little Green", so the audience learns, Joni Mitchell wrote at the age of 19, when she released her daughter for adoption. Kate Nelson brought this very special lullaby with soft, slightly velvety coloring up close to the ears of the audience.

With "Night Ride Home" Annette Marquard was quickly subdued the rocky departure from past melancholy, not least thanks to the six strings Tilmann Höhn incisive rhythmic design. In any case, the guitarist was found that night corresponded repeatedly as an outstanding instrumentalist, whose dexterity with a high level of musical ingenuity. With "Map of Canada", he could also persuade a soloist, technical excellence combined with a tight-knit sound surfaces.

The fact that the voices of the singers have to say to each other a lot, was very particular in "Chinese Coffee" on. About the earthy tone of Annette Marquard lay Kate Nelson's rough-smooth bright appearance without any unpleasant friction. In addition, it was the two musicians again and again during the play the roles swap. Later it was found that Annette Marquard may well reach a very pithy sound while Kate Nelson introduced into a pleasantly iridescent metallic touch.

pity that have managed some of the pieces listed this evening on the CD. The approach to the title however, demonstrates a high degree of autonomy of the musical performers. Although the make from their high respect for Joni Mitchell no secret, but this can not keep their personal interpretation and design.

The CD "Circle Games" can currently be purchased at the price of 15 € on www.annettemarquard.de or www.tilmannhoehn.de .

Published in Wiesbaden Tagblatt
Photo: wita / Uwe Stotz

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The State Theatre Mainz shows the scenic premiere of Rolf Riehm's "The terrible, violent children" directed by Gisbert Jäkel.

It is not clear what accounts for the disturbing fact that performance. Is it the seal of the ancient Greeks Hesiod's Theogony, which is about Uranus, who held his children in captivity and therefore was castrated by his son Kronos brutal? Or the bold, sometimes grueling, and in any Case seems to fit exactly to the events measured music by Rolf Riehm, which was created six years ago? Finally there is the sometimes bizarre, but always directly responsive production by Gisbert Jäkel the Little House of the Mainz State Theatre.

Riehm himself is convinced that the text "has scheduled no dust" to his book "The Terrible-violent children" despite his age, the message was: "Only by force are interpersonal relationships change." He hits the bow of Hesoid to former President George Bush in his preparation for the Iraq war. Actually, the work was not intended for stage performance, Riehm saw it as a "film without images" on. The question of the Mainz but it was really thrilled and Jäkel is even convinced that the music of his pictures and almost provoking predecessor.

Gisbert Jäkel, who came to this work for the first time to the Mainz State Theater, is responsible for the stage, which is characterized by an expansive concrete wall, in which previously a huge hole was torn. Probably by an explosion of insight into the family life of the old gods sex is now possible. Musically decomposed Riehm the events permanently into its component parts, questions and skillfully created musical object constructs. The voltage Permament between music and action will result in the short hours and have enormous present.

The roles are clearly distributed, while overwhelming soprano Ana Durlovski with vocal brilliance and the apparent ability to artistic friction by the act out, the dancers Rogério Cruz a flaming entzürnter Kronos, the clumsy, last only a paltry vegetating Uranus ( Wilfried Günther), the long hoped-for revenge will be given. Clemens salvation and the ensemble of the Philharmonic State Orchestra Mainz plumb the musical characteristics of the challenging score in all its depths and groove and leave it to the lead role in a Musical work with haunting scenic illustration. no one else around, which alone makes the evening remarkable.

Released including the Frankfurter Neue Presse

Antiique Juice Squeezers

Götz Alsmann is in the Alte Oper Frankfurt neither angels nor devils, but once again a brilliant entertainer of the highest standard.

Actually he wants but does not know whether he or angels but rather more of a devil. But because he believes in various hells for different occupational groups, is idol Alsmann hell
not really want. In the devilish Department of jazz musicians namely, he has probably play together with all the greats of his profession and would get taken by none other than Count Basie the notes. But he would have to play "Schnappi, the small Crocodile. With "Angel or Devil" Alsmann is back with a new program in Frankfurt and his three companions rhythm, melody and text in the Luggage.

Its still the finest strength lies in the varied arrangements that represent not only
accompanying sounds for the star at the center. Three percussionists, he has gathered around him, each one an absolute individualist with a particular penchant for the team. Altfried Maria Sicking vierklöppelig swirls around between vibration and xylophone, and also pointed lips for muted trumpet solos, Rudi Marhold runs on drums, probably as some tendonitis and Markus Paßlick always discover again accompanied by new exotic percussion toys to each track a very unique atmosphere swab. Michael Müller Ottomar controls finally in the red bass thread.

Alsmann is himself a master of mimicry and the key combinations. As he casually tapping chords, sweeps his eyes around searching, sometimes he makes a face to the boyish grimace or raises his eyebrows half a millimeter. Musically, there are between good-time dances to melancholy beautiful love sighs all
Alsmann-Schlager-jazz repertoire. Gooseflesh breaking is his "ghost rider" does not deutschtümelnd his love song to all the Germanic female names you can put in a song.

Published in the Frankfurter Neue Presse

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The Australian Co-Opera "plays in unusual places and a guest performance with Mozart's "Magic Flute" at the International May Festival in Wiesbaden

holds With 18,000 kilometers, the "Co-Opera - Opera on the move" probably the eternal course record. So far been no ensemble has traveled to attend the May Festival. But the concept of "Outback's opera" consists precisely in this discontinuity. 15,000 km, it shall return each season to penetrate to the farthest corners of Australia. Three minibuses and a truck it moves through the most inhospitable areas to perform in front of farmers, cattle ranchers, prospectors and miners.

have the baggage that music pioneers nothing less than traditional opera in contemporary dress carefully. Since the action breaks even for a short pop song, sometimes the actors also mix with the audience. But the real opera this way is never popular mediation sacrificed. Through the good relations between the State Theater and the Australian Opera scene that has already brought great artists to Wiesbaden, the local public could now get a taste of this unusual ensemble.

course, not such an extravagant guest will be invited to the Big House, it was Mozart's "Magic Flute" in the cultural and communication center positioned slaughterhouse. Also here were in addition to the usual opera lovers of curious onlookers came who wanted to see how the place is otherwise used for rock concerts and parties, the Opera Stage.

And the experiment worked. With tremendous enthusiasm, the singers are on the spartan access with a metal frame equipped stage. The Director Tessa Bremner verleget the action in the competitive world of catering, where they can be quite easily accommodate. It is all alone left to the singers to carry the concept, because apart from a few light effects, there is no support. But everything they need, because its never diminishing presence provides plenty of power.

musically also comes across some. Jeremy Tatchell is a lively Papageno, who earns his keep here, not with living birds, but with grilled chicken. Sara Lambert confers with brilliant timbre of Pamina a successful girlish charm, Eleanor Blythman is an outstanding, coloratura safe queen of the night, Andrea Carcassi a sonorous Sarastro and Vincent Fusco is as greasy cooking Monostatos befitting nasty and disgusting. Only Ernst Ens seems the role of Tamino in parts vocally a little overwhelmed.

A real stroke of luck is the visit of the Australians for five students at the Wiesbaden Music Academy. Manuel Wuest (flute), Leonie Dessauer (oboe), Christian Claus (clarinet), Jörg Hahn (bassoon) and Lincon Dias (Horn) use the chance to help shape a complete opera, with great commitment and a surprising sophistication, to the chamber music ensemble under the direction Brian Chatterton fits perfectly.

Published in the Frankfurter Neue Presse

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Gerd Knebel

A gym is not a cabaret stage. Would therefore probably only a few representatives of that guild venture there. For Gerd Knebel, however, is not a problem. As a solo half of "bath salt" it is preceded by a reputation that the Dotzheimer gym opening the Cultural Days of the club ring filled almost completely. Knebel has his audience from the start under control. With this rare combination of humor and subversive Brachial it can be only momentarily stuck in a drawer from which he surprisingly fast always crawls out again.

like the first few minutes he was as rude. Because he knows how to do that, must not enter a new territory, so the fans know and love him. Since it does not matter if it considers Peter Gauweiler for a CDU politician and demonized him for builders of AIDS concentration camps. How did he get it? Sure, by the arrest of the "singer" Nadja Benaissa ("No Angels"), which is said to have knowingly infected a man with the HIV virus. Why interested in him that? Because he wants to be at times also arrested from the stage. This tortuous path through his brain turns invites gag undaunted, and earns from its pursuers unbridled enthusiasm.

His Mario-Barth-parody arrives and its Audience Also: "You are friendly, not too critical and uneducated." But it is meant nice, clever Meier he finds stupid. Then he looks forward to "Media, spare the one from the truth" and explains metaphors. Suddenly he is such a thing as political. Then, when he reflects on his guilty conscience that he steals, he of the western runway, against which he and his band "Flatsch" protested at the time, flying on holiday. His bizarre fantasy of a runway model in the log-West magazine, he should continue to develop strongly, which has
surrealist potential.

also what he has to say about Swabian weapons, would be tested by the Bader-Meinhof group, now being used in Georgia, contains real cabaret qualities: "The weapons do not care who is the Lord, the main thing they are allowed to walk the dog . go "if he reads love letters to Adolf Hitler
, only to illustrate:" If you're a good killer, you get all "what! it illustrates yet with figures like Milosevic or Pinochet. In the second part there are some sounds, such as those for the "Fear-flat", the price of freedom in a democracy.

clever moves in exchange he constantly between the spirited attacks below the belt and scores with the appropriate vocabulary, wide tires Santander southern Hesse dialect. Him succeed in this role change effortlessly and authentically, he has neither the instructive and gone for some cabaret colleagues, green Delt but never at the same time only in the swampy lowlands of the topics most comedians. Gerd Knebel is neither the intellectual nor the verbal vandals. He gleans his own patchwork together.

Published in Wiesbaden Tagblatt
Photo: Paul Mueller