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Henry Purcell's "Dido & Aeneas" comes on the stage of the Mainz State Theatre

Although only 60 minutes is "Dido and Aeneas" as the only full-fledged opera by Henry Purcell. Basically, the three-act piece classified yet strong in the tradition of English in mythological scenes inspired "Masque" field. Too short, however, to today to guarantee a full-length evening. So, conductor Michael Schneider, director Arila Siegert have for their production Mainz other shorter musical works by Purcell, Matthew Locke's teachers and some 100 years older Italian composer Claudio Monteverdi colleagues added together. So that individual scenes can be intensified further emotionally. Particularly well known among monodic Monteverdi's "Lamento d'Arianna" is.

The model for the opera comes from Virgil's "Aeneid" and was created by what was then known poet Nahum Tate. The premiere took place in a boarding school for Damsels in Chelsea is instead formed, on whose behalf the work probably. Carthage's Queen Dido falls in love with the Trojan hero Aeneas, but she promised her late husband to marry no more. Nevertheless, the two come closer, but their happiness is soon smothered by a sorceress List in the bud.

For director Arila Siegert it is about the fateful consequences that occur when one gets involved with a love. "This is the internalization of love and sorrow told," she explained. The feeling of abandonment-sein occurs later in the center. "Love is eternal pain," says she, therefore it is the Interpret action and timeless. "As rare as is the happiness of today, it was at that time also," said their view.

Michael Schneider, a renowned expert in historical performance practice, finds it especially exciting to revive the ancient tragedy, as it was taught in the beginnings of opera, again. A musical challenge was the "extremely polyphonic music of Purcell, whose complexity and density. The staging of Arila Siegert, who has staged in Mainz last Mozart's "Le nozze di Figaro", relies on the focus of individual scenes. "It will seem as if time has stopped and you can immerse yourself in each state," makes them curious about the implementation.

An important optical role play for ten one hundred-pound boats from set designer Hans Dieter Schaal and "restrained costumes by Susan Maier-Staufen, which reflect in particular the duality between light and dark again," said the director.

• The premiere on 3 October in the small house is already sold out, maybe there are remaining tickets at the box office.
• Other performances include the 12, 22 and 29 October, both at 19.30 clock.
• cards under 06131/2851-222
• More information: www.staatstheater-mainz.de

Published in the Allgemeine Zeitung Mainz

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Mendelssohn's "Elijah" with Conservatory Choir in Mainz listed

For Ronald R. Pelger that evening was an avowed dearest wish come true - and successful meeting this would not have taken place. In the packed Christ Church, the choir director of the Peter-Cornelius-Conservatory with over 200 participants, especially adolescents and young adults, the oratorio "Elijah" by Felix Mendelssohn-Bartholdy has been listed. An event that obviously knew only winners. Especially for the young choristers of the Conservatory this evening is a defining, in some cases probably even for pioneering musical experience key have been, from which they can still live off years later. Because it is more than extraordinary, to be able to perform at a young age such a work to a level that is comparable with that of the experienced oratorio choirs in the region.

Already in the first cycles is clear that the daring experiment has succeeded Pelger. Clear and precise articulation decrease his direction are the foundations on which we operate, the choir, there will also be extremely clean intonation through all the parts through. In dealing with the soloists, the choir shows as informal and interactive, in the mass scenes, the young singers are strong and enthusiastic, skip but never the border with uncontrollable exuberance. Very agile, sometimes mysterious, are working in different dynamic degrees, in the foreground in all this remains a surprisingly stringent held by homogeneous sound that is spiced with refreshing appeal.

Conservatory Director Gerhard Scholz had received reports from parents that their kids sing at home again and again a fraction of the "Elijah" to himself. 200 years after the birth of the composer's probably a not survive from the hand pointing to evidence of cross-generational intensity of this music, the fashions and trends. A stroke of luck for the performance is the Rheinische Akademie Mainz orchestra, choir and soloists, attentive and always accompanied reliable shape. Daniel Sans takes experience and brilliant tone, the tenor part, Birgit Schmickler (mezzo soprano) precipitated with marrowy clear timbre, while Thomas Peter with earthy bass Elias role does and Sabine Goetz contributing to their bright, unclouded radiant soprano.

Prepared for the Mainzer Allgemeine Zeitung

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At the Wiesbaden State Theatre starts the season with Giuseppe Verdi's opera "Il Trovatore", directed by Cesare Lievi.

in the streets is war. Manrico, the Troubadour moves, backed by a layer of an outcast and Fiend. around with his urban guerrilla, acting at the industrial stage walls Csaba Antal resplendent graffiti, the state power is gearing up for battle. The direction of Cesare Lievi limited to hints of the deep rivalry that exists here and that goes far beyond political disputes also.

It's about revenge, which both the gypsy Azucena and the Count di Luna is driving to the limit. He wants to avenge his brother, accused the Cursed decades into the fire. They in turn bent on revenge for their mother, the father brought the count to the stake. The perfidy of this is that their satisfaction until the pain of the young count gets. The has no idea that the insurgents Manrico, Azucena has raised the as a son of that brother is, which he believes he died of his time in the flames. It was a fatal error by the gypsy who killed her own child in this cruel way. executed only when the count of the revolutionary leader leaves, she reveals to him the just completed fratricide.

owes the effective implementation of its Lievi opera singers. Above all, take Jeniece Golbourne the Wiesbaden audience by storm. Azucena as she looks with long matted hair, in a stooping posture and gestures with unsteady on their European debut enormous demonic. Timbre and punchy, it is a great asset to the Old World. Like few other singers of her absolutely authentic portrayal, never succeeds in at the expense of vocal performance goes, but it fits with associated.

Tatjana Plotnikova raves as Leonora with great ease for her lover and has subsequently formulated emotional tight top notes, this full-bodied piano places. Luis Chapa is to experience sound as Manrico, Tito You puts a lot of pressure in the musical interpretation of the count, as Ferrando is Bernd Hofmann made a thoroughly convincing figure. Rounding out the successful premiere of a careful, sometimes furious triumphant orchestra under the direction of the striking Argentine guest conductor Mario de Rose. Impressive crowd scenes contributed by the choir.

Other performances include on 17, 20, 24 and 27 Every September at 19.30 clock
cards: 0611-132325 or www.staatstheater-wiesbaden.de

Pub among others in the Frankfurter Neue Presse

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charm and determine the pace of opening the season at the State Theater in Mainz Peer Boysen's staging of the Opera "Carmen"

If the eyes sparkle in the glow of torches and the goose bumps running up and down you can be sure that the staging will be a popular success. But so it is now George Bizet's evergreen "Carmen", in Peer Boysen at the State Theatre Mainz is directing. He has not conjured this sumptuous set design, but leaves the viewer freely look into the flies, from the strutting down the hugely admired Carmen. Quite an industrial character Atmosphere that has something cold and rigid, like the establishment of the choruses sometimes seems quite cool. Strangely uninvolved they spread initially on the Stage remain in their dispute over Carmen's little fight but ultimately uninterested.

But the little scratches on the fascination of this opera, which is also in Mainz with great passion and with a certain pathos to shot the one hand and with a charming, certainly tragic ending of lightness on the other side of the stage. Boysen, who works for the fourth time in Mainz known, the Opera as both "large English Human Drama" and "French Entertainment ". Between the heavy and the light lies the tension, he said before the premiere. Operatic seriousness is the love suffering sergeant Don José fatal, while the fleet exercise in Carmen coquettish skirmishes.

succeed is exactly these contrasts pointedly with a Peer Boysen ensemble acting and a well-attuned Orchestra under the baton of Music Director Catherine Rückwardt effortlessly. Michael Wade Lee sings Don Jose with a lot of power but without violence and are very well understood by the poor fool that is already taken too much of the magic of his supposed love for the seductive factory worker to have backbone to prove it.

is particularly outstanding performance by Tara Venditti, a tremendously sensual and often infamous Carmen Agreement. Her voice is a seductive one, which she uses with masterly finesse and smoothness. It is aware of their role in the almost magical powers with which they are men, especially the one can impose his will across the border out their plans. Dietrich Greve gives off a testosterone-stuffed bull fighter against Don José must contribute almost pathetic. Susanne Geb Micaela gets soft and comfortable. Original Show-effects as the original flamenco group or the variety of the smugglers insert a handy complement Production of charm and pace, d AFor ensure that the gravity does not maintain the upper hand.

tickets at 2851222 or www.staatstheater-mainz.de
Further performances on 20 and 25 September and by April 2010

Published in the Frankfurter Neue Presse

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Simone Kermes has arias from the Naples of the 18th Century included

Naples belonged to the 18th Century not only the most important commercial cities of Europe, but was a seminal figure in art. From there, made great composers for the stage in the world to go to great consideration. Few are aware of her work today even larger scale. One of the is known to the present, the librettist and "Poeta Cesaro" at the Viennese court, Pietro Metastasio. He wrote the lyrics for major opera by Giovanni Pergolesi, Alessandro Scarlatti and other great composers. The soprano Simone Kermes

has now been placed under the evocative title "Lava" opera arias from this time together, including some who were the first time ever on CD. The sounding flows out of the city at the foot of Vesuvius are connected to a tremendously entertaining and musically exciting interpreted impression. They are from operas that today almost no longer be listed on stage. But the singer does with these sections together with the blunt and often electrifying play "Le musiche nove" conducted by Claudio Osele quite curious.

From Leonardo Leo's "Il Demetrio (1735) imparts to the aria" Manca sollecita "in a very atmospheric and tense piano, so that the shaking to the breeze, of which she sings, is able to literally feel. Lightly dabbed vowels, sensual melodies and played around a short startling outbreak bring the audience close to the play enormously. Sometimes followed by brilliantly sung, sweeping and far into the suddenly soaring coloratura almost spoken acting rough milestones in the deep Regions. The place around the Siface aria "Come nave in mezzo all'onde" is from Johann Adolf Hasse's VIRIAT "(1739) vivid contrasts - just as you would expect on a ship sailing on rough waters. At least, the picture that is sung. In the Arbace aria "Vo solcando un mar crudele" from Leonardo Vinci's "Artaserse" (1730), they screwed themselves with brilliant virtuosity in the fervently recited misery tragedy of his existence.

The CD 2009 is released on "German Harmonia Mundi. For more information: www.lava-music.ch

Published in Wiesbaden Kurier