Spectacular premières in Heidelberg

By Christine Roth, 07 February 2015

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“a rare stylistic integrity between text, commenting music and staging”

Reviewed at Theater Heidelberg, Heidelberg on 6 February 2015

Harneit, Abends am Fluss (Uraufführung)

Harneit, Hochwasser - Zwei Koffer im Keller (Uraufführung)

Johannes Harneit, Conductor

Peter Konwitschny, Director

Helmut Brade, Costume Designer, Set Designer

Irina Simmes, Frau

Hye-Sung Na, Schatten

Carolyn Frank, Innere Stimme

Nam Won Huh, Hund

Winfrid Mikus, Links

Angus Wood, Mann

Thomas Möwes, Greis

Nico Wouterse, Rechts

Ipča Ramanović, Leichter Koffer

Wilfried Staber, Schwerer Koffer

Chor des Theaters und Orchesters Heidelberg

Extrachor des Theaters und Orchesters Heidelberg

Philharmonisches Orchester Heidelberg

Statisterie des Theaters und Orchesters Heidelberg, Actor

Kinderchor des Theaters und Orchesters Heidelberg

Curtain rises on ENO’s Traviata revival

Dominic Lowe, 23rd October

Peter Konwitschny's production of La traviata has its flaws, but in an age of protracted media there is much to be said for his taut production of Verdi's most famous tragedy.

***11

Konwitschny’s controversial Don Carlos a must-see in Vienna

Chanda VanderHart, 4th October

A five-hour operatic marathon as the full, five-act French version of Verdi's epic Don Carlos returns to the Staatsoper after a seven-year hiatus.

*****

Peter Konwitschny returns to the Semperoper with Les Huguenots

Laura Servidei, 29th June

John Osborn leads a very successful premiere of Peter Konwitschny's new production of Meyerbeer's Les Huguenots in Dresden

****1

An immersive auto-da-fé: Konwitschny's Don Carlos sizzles

Mark Pullinger, 30th May

From stylised 16th-century dress to a 1970s sitcom ballet, Konwitschny's Staatsoper staging is full of brilliantly inventive touches, splendidly realised in this excellently sung revival.

*****

Mob mentality: a powerful La Juive at Opera Vlaanderen

Mark Pullinger, 10th March

Peter Konwitschny's production strips away much of the religious symbolism, presenting the difference between Jews and Christians as little more than the dyed colour of their hands.

****1

In Konwitschny's modern Medea, monsters are made by men

Ilana Walder-Biesanz, 27th December

Director Peter Konwitschny's staging of Cherubini's Medea critiques rejection and mistreatment of refugees. A strong new German translation and a talented cast make this a must-see.

****1

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Christine Roth

After completing her Bachelor's degree in Heidelberg and at King's College London, Christine is now studying towards her Master's degree in Musicology and French Literature. She loves music of the 20th and 21st century and she also plays the violin with lay orchestras in musical and theatre projects.

Abends am Fluss und Hochwasser – spectacular premières in Heidelberg