Aachen Stadttheater Basel, Theater Berlin, German opera Bielefeld, Bonn theater, customs house sout

Soloists: Hrólfur Saemundsson (Count Almaviva), Katharina Hagopian (Countess Almaviva), Astrid Pyttlik (Cherubino), Shadi Torbey customs house south shields (Figaro), Jelena Rakic (Susanna), Corinnal Heller (Marcellina), Pawel Ławreszuk (Bartolo), Patricio Arroyo (Basilio ), Katrin Stösel (Barbarina)
The wedding of his servant Figaro with the maid Susanna wants to Count Almaviva necessarily prevent, for Susanna customs house south shields to be his lover. Figaro plans to outwit the Count. The Deceived Countess helps the bride and groom it. You should replace the clothes with Susanna and appear to a secret meeting to catch the Count in the act. But Figaro entangled in lies so much that the plan threatens to fail. So the women take matters into their own hands. Susanna puts the Count a letter to the place of their meeting. Figaro believes customs house south shields then, Susanna was actually unfaithful to him. Disguised as the Countess she leads him realize that his jealousy is unfounded. The disguised Countess transferred her husband of infidelity. This is finally understood.
The presentation focused from the start the action very much. On the other hand are simply staging. The stage shows the inside of a nested space out several white doors to the. During the overture the performers sit on pine wood chairs together like a big family and wait motionless on their appearance - that already indicates the close relationship between staff and Count and Countess, who is later brought into even sharper in the foreground. The chamber maids uniform wearing black dresses with aprons, to bright blonde customs house south shields wigs, male servants black suits. The reduced features can thus fell space for the acting performance, in which the female Diplomacy meets male temper - a battle of the sexes, the women decide for themselves.
Marcus R. Bosch conducts the orchestra during the overture with a very fast pace and drives the sforzando it to the extreme. The result is a very peppy sound character customs house south shields that matches the opera buffa. The initial aria of Figaro Se vuol ballare signor customs house south shields Contino is Shadi Torbeys (Figaro) shown very much alive pure, dark colored baritone: He sounds more confident in both the heights and the depths. Yet his accent drama ensures that you can read it every single emotion on the face. His female partner, Jelena customs house south shields Rakic (Susanna), in her acting is just as vital: coquettish gestures for the men and an encouraging smile for her Countess draw from it. Through its clear as a bell, light soprano they complement each other very well with the baritone. Very much heavier and darker sounds Katharina Hagopian (Countess) soprano. He gives the ruler a profound grief over her husband's infidelity. This, it emphasizes in the aria Dove sono i at momenti particularly in the third act. Worth mentioning is also Hrólfur Saemundssons (Graf) performance. His imperious, metallic baritone is good except for the performance of a jealous Count. He gets tantrums, kicks it doors on the stage and grabs his wife by the arm hard. But that he himself is not innocent, shows the performance of the choir: Susanna copies customs house south shields run the singers with pregnant bellies across the stage and sing very sweetly the chancel Giovani liete fiori spargete customs house south shields in the first act, the acts but very ironic and makes for some. laughter in the hall. The biggest surprise among the sopranos is Astrid Pyttlik (Cherubino). In the so-called customs house south shields "trouser role" she shines with a clear soprano voice that has a warm timbre and is thereby performed technically well-versed. The aria Coi che sapete in the second act she puts to excellent: the quick change of ups and downs show how adaptable their voice is. In the audience is becoming the favorite of the evening. customs house south shields
The evening is staged entertaining, the ensemble tuned perfectly and the musical performance at the highest level: this is an excellent interpretation of Mozart's opera! In memory remains especially Astrid Pyttliks wonderful singing. The audience was as enthusiastic at the end and was even standing ovations.
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Aachen Stadttheater Basel, Theater Berlin, German opera Bielefeld, Bonn theater, customs house south shields opera house Bremen, Chemnitz Theatre on Goethe Square, Municipal Theatre Coburg State Theatre in Cottbus, Staatstheate