A conceptually bold Manon at Oper Köln

By Cristina Burack, 17 March 2018

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“Köln’s Manon showed just how relevant and thought-provoking opera can be”

Reviewed at Oper Köln: Staatenhaus Saal 1, Cologne on 15 March 2018

Massenet, Manon

Oper Köln

Claude Schnitzler, Conductor

Johannes Erath, Director

Herbert Murauer, Set Designer

Gesine Völlm, Costume Designer

Zuzana Marková, Manon

Menna Cazel, Poussette

Marta Wryk, Javotte

Dara Savinova, Rosette

John Heuzenroeder, Guillot de Morfontaine

Atalla Ayan, Le Chevalier Des Grieux

Wolfgang Stefan Schwaiger, Lescaut

Insik Choi, Monsieur de Brétigny

Julian Schulzki, Innkeeper

Nikolay Didenko, Le Comte Des Grieux

Nicol Hungsberg, Lighting Designer

Sierd Quarre, Choirmaster / chorus director

Georg Kehren, Dramaturgy

Gürzenich Orchestra

Chor der Oper Köln

Athol Farmer, Choreography

Franziska Gassman, Dancer

Bibi Abel, Video

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Brett Dean's operatic reworking of Shakespeare's Hamlet receives its German premiere in a powerful new staging by the work's librettist Matthew Jocelyn.

****1

An emotionally distant Peter Grimes at Oper Köln

Cristina Burack, 28th November

Benjamin Britten's Peter Grimes is a nuanced, gripping tale that should pack an emotional punch. Despite fine moments, Oper Köln's production didn't serve the work.

**111

An effectively unsettling The Emperor of Atlantis at Oper Köln

Cristina Burack, 2nd March

Though straightforward in concept, Oper Köln's production of the one-act opera written in the Theresienstadt concentration camp brought the opera's profound themes to the surface in an excellently sung performance.

***11

Oper Köln's delightful Orpheus enraptures all ages

Cristina Burack, 19th January

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****1

Fidelio: delightful Beethoven in Cologne

Brian Angus, 1st July

In a temporary home, Cologne Opera have mounted a remarkably joyful production of Beethoven’s single, wonderful opera.

****1

Not easily assimilated: Candide in Cologne

Matthew Rye, 7th December

The Staatenhaus venue forces one too many compromises on Bernstein's operetta, but the performance itself is saved by the accomplishment of much of the singing.

***11

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Cristina Burack

Cristina Burack studied piano and flute for many years, before earning her BM in Voice and Opera performance at Northwestern University, with a strong focus on German Lieder, as well as a BA in History. After continuing her vocal studies in Vienna, she turned her professional focus to communications. She is a freelance journalist who particularly enjoys covering the intersection of music, history and politics.