{"id":96640,"date":"2019-07-11T11:26:01","date_gmt":"2019-07-11T09:26:01","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=96640"},"modified":"2019-07-11T11:26:01","modified_gmt":"2019-07-11T09:26:01","slug":"komische-oper-berlin-la-boheme","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/komische-oper-berlin-la-boheme\/","title":{"rendered":"Komische Oper Berlin: “La Boh\u00e8me”"},"content":{"rendered":"

Komische Oper Berlin, Season 2018\/2019
\n<\/i>“LA BOH\u00c8ME”<\/strong>
\n<\/i>Opera in four acts, libretto Luigi Illica and Giuseppe Giacosa
\nMusic by Giacomo Puccini<\/strong>
\nMimi <\/i><\/span>RUZAN MANTASHYAN
\n<\/span><\/span>Musetta <\/i><\/span>VERA-LOTTE B\u00d6CKER
\n<\/span><\/span>Rodolfo <\/i><\/span>JONATHAN TETELMAN
\n<\/span><\/span>Marcello <\/i><\/span>G\u00dcNTER PAPENDELL
\n<\/span><\/span>Schaunard <\/i><\/span>D\u00c1NIEL FOKI
\n<\/span><\/span>Colline <\/i><\/span>PHILIPP MEIERH\u00d6FER
\n<\/span><\/span>Alcindoro <\/i><\/span>CHRISTOPH SP\u00c4TH
\n<\/span><\/span>Parpignol <\/i><\/span>EMIL LAWECKI
\n<\/span><\/span>A merchant <\/i><\/span>MATTHIAS SPENKE
\n<\/span><\/span>A customs sergeant <\/i><\/span>JAN-FRANK S\u00dc\u00dfE
\n<\/span><\/span>A customs officer <\/i><\/span>TIM DIETRICH
\n<\/span><\/span>Chorus soloists, Children\u2019s Chorus and supernumeraries of the Komische Oper Berlin
\n<\/span>Orchester der Komischen Oper Berlin
\n<\/span>Conductor Jordan de Souza
\n<\/b><\/span>Chorus<\/span><\/span> <\/b>David Cavelius
\n<\/b><\/span><\/span><\/span><\/span>Children\u2019s chorus <\/span>Dagmar Fiebach
\n<\/b><\/span><\/span>Production <\/span>Barrie Kosky
\n<\/b><\/span><\/span>S<\/span><\/span>tage <\/span><\/span>Rufus Didwiszus
\n<\/b><\/span><\/span>Costumes <\/span><\/span>Victoria Behr
\n<\/span><\/span><\/strong>Light <\/span>Alessandro Carletti
\n<\/b><\/span><\/span>Berlin, 29th June 2019
\n<\/span><\/span><\/em>New brooms sweep clean – since <\/span><\/span>Barrie Kosky <\/b><\/span><\/span>became theatre and stage director of the <\/span><\/span>Komische Oper Berlin <\/b><\/span><\/span>in 2012, he has broken with predecent having most operas sung in their original languages. He has also set up the<\/span><\/span> <\/b>Komische Oper Festival<\/i><\/span><\/span> showing all new productions of the season again during its last week. Opera-goers can get a crash course of the latest musical theatre productions while an opera critic is able to see whatever he has missed out for any reason. This time it was the premiere of <\/span><\/span>La Boh\u00e8me<\/i><\/span><\/span> I could not make in January. Being one of the most frequently performed operas worldwide, it is full of sentimentalism and clich\u00e9s director Barrie Kosky has avoided. Yet I cannot but remember the legendary production by Harry Kupfer at the Komische Oper from the early 1980s which was running several hundred times in 25 years. It was realistic enough to avoid any kitsch moments as well but how credible every feeling of the characters was scenically transformed into gestures and glances by Kupfer, how much the stage design corresponded with the atmosphere of the action! It was one of the most convincing opera stagings I have ever seen. \"\"<\/a>Barrie Kosky\u2019s production is less coherent. Of course, he takes to action like a duck to water at Caf\u00e9 Momus as well as in the opening scene when there is plenty of slapstick going on among the four Bohemians. Strangely enough, they are playing the scene with the not appearing landlord Benoit among themselves, frisky fellows in strikingly purple, striped and checked suits (costumes by <\/span><\/span>Victoria Behr<\/span><\/span><\/strong>) frolicking on the small platform which is adequately a cramped garret rather than a big artistic workshop. The rest of the stage designed by <\/span><\/span>Rufus Didwiszus <\/b><\/span><\/span>remains empty barring a few backdrops with faded black-and-white photos of Paris in the 19<\/span><\/span>th<\/span><\/span><\/sup> century which Kosky associates with the transience of life. They are in fact daguerreotypes as a result of an early kind of photography and consequently, Marcello is a long-haired photographer instead of a painter and one of Mimi and Rodolfo\u2019s last moments together can be captured forever before she dies left alone, sitting on a chair in the bright beam of a spotlight \u2013 a striking end indeed! But there are also less skilful moments: the garret can only be reached through a hatch that is noisily opened and shut whenever someone enters or leaves, or when a performer climbs a chair to sing. The Bohemians\u2019 nearly constant drinking and smoking seems as coherent as the frozen-in-time scene in the Momus act. <\/span><\/span>Jordan de Souza <\/b><\/span><\/span>tries to create an adequate Puccini sound from the orchestra pit without too much heartiness, suppleness or fervour making the <\/span><\/span>Orchester der Komischen Oper<\/b><\/span><\/span> dominate the singers who reciprocally <\/span><\/span>turn up the volume particularly on top such as <\/span><\/span>Jonathan Tetelman<\/b><\/span><\/span> as <\/span><\/span>Rodolfo<\/i><\/span><\/span>. His tenor sounds radiant and <\/span><\/span>supple but I would have wished for at least one gentler top note. <\/span><\/span>The p<\/span><\/span>ale-faced <\/span><\/span>Mimi<\/i><\/span><\/span> is sung by <\/span><\/span>Ruzan Mantashyan <\/b><\/span><\/span>whose Slavonically-timbred soprano leaves special marks in the last two acts while she nearly turns the final C of the first into a cry. <\/span><\/span>G\u00fcnter Papandell <\/b><\/span><\/span>makes a formidable <\/span><\/span>Marcello<\/i><\/span><\/span> of his powerful baritone and <\/span><\/span>Vera-Lotte B\u00f6cker<\/b><\/span><\/span> as <\/span><\/span>Musetta<\/i><\/span><\/span> can fully rely on her attractive soprano in <\/span><\/span>Quando me\u2019n vo\u2019<\/i><\/span><\/span>. <\/span><\/span>D\u00e1niel Foki<\/b><\/span><\/span> from the Opernstudio der Komischen Oper is a frisky <\/span><\/span>Schaunard<\/i><\/span><\/span> and <\/span><\/span>Philipp Meierh\u00f6fer<\/b><\/span><\/span> a poignant <\/span><\/span>Colline<\/i><\/span><\/span>. The somehow low-key production makes the three Berlin opera houses have <\/span><\/span>La Boh\u00e8me<\/i><\/span><\/span> in all their schedules. The Komische Oper has already announced a new <\/span><\/span>La Traviata<\/i><\/span><\/span> for the season to come \u2013 another opera triplet in Berlin\u2019s wide-ranging opera scene.Photos by Iko Freese<\/em><\/span><\/span><\/p>\n

Neue Besen kehren gut: seitdem <\/span><\/span>Barrie Kosky <\/b><\/span>2012 Intendant und Chefregisseur der <\/span>Komische Oper Berlin <\/b><\/span>wurde, hat er mit der Tradition gebrochen und l\u00e4sst die meisten Opern in Originalsprache auff\u00fchren. Er hat auch das <\/span>Komische Oper Festival <\/i><\/span>ins Leben gerufen, bei dem in der letzten Woche der Spielzeit alle Neuinszenierungen noch einmal gezeigt werden. Opernbesucher k\u00f6nnen sich sozusagen im Schnelldurchlauf mit den neuesten Musiktheaterproduktionen vertraut machen und ein Opernkritiker kann die eine oder andere Inszenierung sehen, die er aus irgendeinem Grund verpasst hat. \"\"<\/a>Diesmal war es die Premiere von <\/span>La Boh\u00e8me<\/i><\/span>, zu der ich es im Januar nicht geschafft habe. Als eine der meistgespielten Opern weltweit, ist sie voller Gef\u00fchlsduselei und Klischees, die Regisseur Barrie Kosky vermieden hat. Ich komme dennoch nicht umhin, mich an die legend\u00e4re Inszenierung von Harry Kupfer aus den fr\u00fchen 1980ern an diesem Haus zu erinnern, die in 25 Jahren hunderte Male lief. Sie war realistisch genug, um auch jeglichen Kitsch zu vermeiden, aber wie glaubhaft wurde jede Gef\u00fchlsregung der Figuren durch Gesten und Blicke von Kupfer in Szene gesetzt, wie sehr entsprach das B\u00fchnenbild der Atmosph\u00e4re der Handlung! Es war eine der \u00fcberzeugendsten Operninszenierungen, die ich je gesehen habe. Barrie Koskys Regie ist weniger stimmig. Nat\u00fcrlich ist er ganz in seinem Element, wenn es um Action im Caf\u00e9 Momus geht oder beim Klamauk der vier Bohemiens in der Eingangsszene. Befremdlicherweise spielen sie die Szene mit dem nicht auftretenden Vermieter Benoit unter sich, ausgelassene Burschen in auff\u00e4llig violetten, gestreiften oder karierten Anz\u00fcgen (Kost\u00fcme von <\/span>Victoria Behr<\/span><\/strong>), die auf dem kleinen Podest herumtollen, das passenderweise eine beengte Mansarde anstelle eines gro\u00dfen Ateliers darstellt. Der Rest der von <\/span>Rufus Didwiszus <\/b><\/span>entworfenen B\u00fchne bleibt leer bis auf ein paar Prospekte mit ausgeblichenen schwarz-wei\u00df Fotos vom Paris des 19. Jahrhunderts, die f\u00fcr Kosky die Verg\u00e4nglichkeit des Lebens assoziierenen. Es handelt sich genau genommen um <\/span>Daguerrotypen, dem Produkt einer fr\u00fchen Form der Fotografie und so ist Marcello hier ein langhaariger Fotograf statt ein Maler und einer der letzten gemeinsamen Augenblicke von Mimi und Rodolfo kann f\u00fcr die Ewigkeit festgehalten werden, bevor sie, alleingelassen und auf einem Stuhl sitzend, im hellen Lichtstrahl eines Scheinwerfers stirbt \u2013 ein wirklich starker Schluss! Es gibt aber auch weniger gelungene Momente: die Mansarde ist nur durch eine Bodenluke erreichbar, die jedes Mal, wenn jemand kommt oder geht, laut auf- und wieder zugemacht wird, oder wenn ein Protagonist auf einen Stuhl steigt, um zu singen.\"\"<\/a> Der nahezu st\u00e4ndige Gebrauch von Alkohol und Zigaretten unter den Bohemiens scheint genauso logisch wie eine eingefrorene Szene im Momus-Akt, in der die Zeit angehalten wird. <\/span>Jordan de Souza <\/b><\/span>versucht, einen angemessenen Puccini-Klang aus dem Orchestergraben zu zaubern ohne zu viel W\u00e4rme, Schmelz oder Glut, wodurch das <\/span>Orchester der Komischen Oper<\/b><\/span> die S\u00e4nger dominiert, die im Gegenzug besonders in der H\u00f6he laut werden wie beispielsweise <\/span>Jonathan Tetelman<\/b><\/span> als <\/span>Rodolfo<\/i><\/span>. Sein Tenor klingt leuchtstark und geschmeidig, aber ich h\u00e4tte mir wenigstens einen leiseren Spitzenton gew\u00fcnscht. Die bleichgesichtige <\/span>Mimi<\/i><\/span> wird von <\/span>Ruzan Mantashyan <\/b><\/span><\/span>ge<\/span><\/span>sungen, deren<\/span> slawisch timbrierter Sopran die st\u00e4rksten Momente in den letzten beiden Akten hinterl\u00e4sst, w\u00e4hrend das finale C des ersten nahezu in einem Schrei endet. <\/span><\/span>G\u00fcnter Papandell <\/b><\/span><\/span>holt einen beeindruckenden <\/span><\/span>Marcello <\/i><\/span><\/span>aus seinem kraftvollen Bariton heraus und <\/span><\/span>Vera-Lotte B\u00f6cker<\/b><\/span><\/span> als <\/span><\/span>Musetta<\/i><\/span><\/span> kann sich voll und ganz auf ihren attraktiven Sopran bei <\/span><\/span>Quando me\u2019n vo\u2019 <\/i><\/span><\/span>verlassen. <\/span><\/span>D\u00e1niel Foki<\/b><\/span><\/span> aus dem Opernstudio der Komischen Oper ist ein ausgeweckter <\/span><\/span>Schaunard<\/i><\/span><\/span> und <\/span><\/span>Philipp Meierh\u00f6fer<\/b><\/span><\/span> ein melancholischer <\/span><\/span>Colline<\/i><\/span><\/span>. Die irgendwie unauff\u00e4llige Produktion l\u00e4sst nun alle drei Berliner Opernh\u00e4user <\/span><\/span>La Boh\u00e8me <\/i><\/span><\/span>im Spielplan haben. Die Komische Oper hat bereits eine neue <\/span><\/span>La Traviata <\/i><\/span><\/span>f\u00fcr die kommende Spielzeit angek\u00fcndigt \u2013 ein weiterer Operndrilling in Berlins weitreichender Opernlandschaft.Photos by Iko Freese<\/em><\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Komische Oper Berlin, Season 2018\/2019 “LA BOH\u00c8ME” Opera in four acts, libretto Luigi Illica and Giuseppe Giacosa Music […]<\/p>\n","protected":false},"author":177,"featured_media":96644,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[7212,4831,21197,23280,17157,136,23279,23278,19305,3090,109,17163,17589,9794,22255,9621],"class_list":["post-96640","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-alessandro-carletti","tag-barrie-kosky","tag-dagmar-fiebach","tag-daniel-foki","tag-david-cavelius","tag-giacomo-puccini","tag-gunter-papandell","tag-jonathan-tetelman","tag-jordan-de-souza","tag-komische-oper-berlin","tag-la-boheme","tag-philipp-meierhofer","tag-rufus-didwiszus","tag-ruzan-mantashyan","tag-vera-lotte-bocker","tag-victoria-behr"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/96640","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/users\/177"}],"replies":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/comments?post=96640"}],"version-history":[{"count":0,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/96640\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/96644"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=96640"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=96640"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=96640"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}