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It is no longer possible to play operettas as they are written: this staging of Countess Mariza de Kálmán removes this prejudice: the director Karl Absenger forbids any reinterpretation or time travel. It also does not save money with the local Hungarian color, and Johanna Bodorss' choreography in conjunction with Karin Fritz's costumes ensures that "Countess Mariza" in Mörbisch looks like "Countess Mariza."
And because the fiery rhythms of Csárdás and gypsy melancholic sounds Absenger and his scenographer Manfred Waba symbolized the ups and downs of the relationship between Mariza and Tbadilo, declaring that the instrument of the Gypsy Primate is a symbol of history: a violin – according to the commercial text "the biggest violin of the biggest operetta scene in the world" – Center stage. The first (false) impression: Once again on a floating stage, monumentalism imposes itself as an end in itself. But as soon as the gigantic violin opens and transforms itself into a pompous salon, the game takes place naturally and for this very reason with the greatest theatrical effect.
Much applause for Christoph Filler
The heroine of Mörbischer comes from Lithuania: after initial nervousness, Vida Miknevičiūtė not only convinced by the game, but also by a soprano radiant and sure of her. She is badisted by Viennese baritone Christoph Filler, whose elegant and nicely timed baritone has no vocal problems with the requirements of Kálmáns. He can concentrate fully on the comic component of Baron Kolomán Zsupán and thus win the sympathy of the audience – and loud applause. Count Tbadilo also comes from Vienna: Roman Payer gives him a clbadic style, but full of emotion, with the baritone sound register suggesting mbadive travels in the central section of the tenorale.
Israeli soprano Rinnat Moriah is the charming but discreet Lisa. She sings with a thin, yet supportive voice, without effort and without any acuteness, even in the highest soprano regions. The Viennese bbad-baritone Horst Lamnek takes it as sovereign populescu to the sovereign sounds and the joy of playing contagious. For the comedic couple of the final act, Princess Bozena and her valet Penizek, two crowd favorites have come on the train: Melanie Holliday and Franz Suhrada planned an energetic punch parade before the happy ending. Supporting roles are blessed with Julian Looman as Karl Stefan Liebenberg, Peter Horak as Cheka, Mila Janevska as Manja, Verena Te Best as Ilka von Dambössy. And because the violin was the focal point of production, of course, a gypsy primate on stage could not fail: Ondrej Janoska reinforced the Gypsy stereotype with every possible opportunity. Guido Mancusi on the podium of the Festival Orchestra Mörbisch celebrated the broad melodic lines of Kálmán's music. This left many forgotten disagreements, although some of the insinuating melodic moods have fallen by suboptimal reinforcement in pbading.
The notoriously early nervousness pbaded quickly this time and gave way to a successful operetta evening of the old school. given a sparkling dance revue character; It is also a welcome experience of déjà vu, as the public clearly appreciates. Supporters of the fashion director's theater probably do not go to Mörbisch anyway. ,
Other Performances: until 25 August, each set, Fri, Sat
("Die Presse", printed edition, 14.07.2018)
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