The pure white theater space is first and foremost a large empty space. An artistic place that allows every aesthetic claim and at the same time expands and amplifies. This festival year in Salzburg, you can experience Mozart’s opera / da Ponte in white rooms – whether planned or not – that relate to each other in all respects as their respective counterparts.
While Romeo Castellucci initially identified white space in his controversial production of Don Giovanni as a sacred place that was at first painstakingly desecrated and then engulfed by symbolic objects in an unprecedented battle of materials and inundated with movement personnel, Johannes Layaker’s white theater remained in Christof Loys’ Così fan tutte – Simply blank play, taken from last year.
Directing people with amazing accuracy
Two doors, a few steps up the slope, that’s all Lowe needs to tell a fast-paced story of a dismal love affair. The white wall opens only once and reveals a huge flying tree against a dark night sky, otherwise this furious Mozart evening focuses entirely on the dangerous game with emotions big and small.
Loy’s personal guidance is amazingly meticulous, he makes every little emotional impulse, every mood, and every spontaneous impulse visible and at the same time kept discreet. Loy doesn’t show anything, never wavers at the center of the director, but rather puts on an intimate room play, entertaining and entertaining with a seldom-seen credibility.
The game of the six remarkably swearing heroes, all very contemporary characters, looks as if laid out on graph paper, yet it is unimpressively natural.
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A year after its premiere, this production, which was cut short to two and a half hours due to pandemic rules in place a year earlier, has matured significantly aesthetically and musically in its like-for-like cast. In the past year, Joanna Mallowitz’s sovereign demeanor still seems a bit intentional and authentically seeking places, and this year it flows more subtly, and more naturally.
Playing in the brightest festival atmosphere, Mallowitz conducts the Vienna Philharmonic Orchestra, lively, but never tyrannical, and some chords touch the limits by all means, but the events indicated by continuity always remain organic, fruitful and reasonable. After Theodor Krentzis intentionally drunk himself all the river penetration experiences with “Don Giovanni,” Mallowitz’s interpretation of Mozart appears mature and broadly awake.
Perfect team spirit
The young, hilarious and incredibly hilarious band of singers sings at the highest level with exemplary team spirit. Everything pisses off cheerful soprano Elsa Dreisig as Fiordiligi, sparkling with familiar colors and seraphic heritage. Marianne Kripasa Dorabella-Mezzo is hardly inferior to her and has increased her presence since last year. Bogdan Volco is a flexible Verando with perfect scoring balance and Andre Schoyen has also grown significantly as a Guglielmo fireworks builder.
Without a gravitational chamber
Lea Desandre, Despina dazzlingly clever with dark undertones without any kitty charisma, and Johannes Martin Kranzel, like Don Alfonso, are the not-so-secret center of the evening: Finally, this string puller is not a one-dimensional cynical player, but a wise and emotional person who seems increasingly disoriented and exhausted In the context of his own experience.
Loy explains this in minute detail: first the right jacket is unbuttoned, then half of the white shirt hangs from the pants. And when Ferrando evokes great love in his song “Un ‘aura amorosa” and Bogdan Volkov seems to stop time with his boundless piano legacy flowing, Don Alfonso doesn’t laugh maliciously but fights with tears. A wonderful moment of this wonderful evening, which the completely sold-out Festspielhaus follows with great nervousness. Cheers to Mozart’s rare luck.