{"id":5455,"date":"2021-03-10T17:31:29","date_gmt":"2021-03-10T16:31:29","guid":{"rendered":"https:\/\/www.orpheus-magazin.de\/?p=5455"},"modified":"2021-03-23T18:13:52","modified_gmt":"2021-03-23T17:13:52","slug":"glamouroeses-it-girl-twittert-sich-durchs-leben","status":"publish","type":"post","link":"https:\/\/www.orpheus-magazin.de\/de\/2021\/03\/10\/glamouroeses-it-girl-twittert-sich-durchs-leben\/","title":{"rendered":"Glamour\u00f6ses It-Girl twittert sich durchs Leben"},"content":{"rendered":"

Wenn jeder erkrankte Tenor an der Wiener Staatsoper mit gro\u00dfartigen S\u00e4ngerdarstellern wie Piotr Becza\u0142a (zuletzt bei \u201eCarmen\u201c) oder nun mit Juan Diego Fl\u00f3rez als Einspringer besetzt wird, darf man sich gl\u00fccklich sch\u00e4tzen. Der Peruaner l\u00e4sst seine Spitzent\u00f6ne wundersch\u00f6n erstrahlen \u2013 vor allem im piano \u2013 und besticht mit gef\u00fchlvollem Spiel. F\u00fcr einen perfekten Alfredo fehlt allerdings mehr Durchschlagskraft. Im Belcanto-Fach wahrscheinlich un\u00fcbertroffen, muss seine Tenorstimme f\u00fcr Verdi noch etwas dramatischer werden. Auch Pretty Yende ist eine au\u00dfergew\u00f6hnliche Darstellerin und ber\u00fchrt nuancenreich bis zum t\u00f6dlichen Ende. Die s\u00fcdafrikanische Sopranistin beweist ausdrucksstarke Phrasierungskunst und klare H\u00f6he, auch wenn man bei der Mittellage manchmal noch Kraft und Volumen vermisst. Sie ist aber trotzdem eine sehr gute Violetta mit herzzerrei\u00dfendem \u201eAddio del passato\u201c. Ensemblemitglied Igor Golovatenko best\u00e4tigt nach seinem Posa im vergangenen Herbst erneut, dass er \u00fcber einen wohlt\u00f6nenden, noblen Verdi-Bariton verf\u00fcgt. Das Dirigat von Hausdeb\u00fctant Giacome Sagripanti wurde oft langweilig und uneinheitlich gef\u00fchrt.<\/p>\n\n\n\n

Die Koproduktion mit der Op\u00e9ra national de Paris (Premiere 2019) f\u00fchrt uns unter Regisseur Simon Stone in die heutig-schnelllebige Zeit. Chatverl\u00e4ufe und gepostete Selfies flimmern rasant auf \u00fcbergro\u00dfen Video-Leinw\u00e4nden im Hintergrund. Dies \u00fcberfordert die Konzentration und f\u00fchrt schnell zu \u201edigitaler Schwindsucht\u201c. Violetta ist keine Edelkurtisane, sondern gelangt als Influencerin mit eigener Parf\u00fcmlinie zu Ruhm und Reichtum. Umso weniger ist schl\u00fcssig, warum Germont sie als eine \u201evom Weg Abgekommene\u201c sieht und es stattdessen bevorzugt, seine Tochter an einen saudischen Prinzen zu verheiraten \u2013 angesichts der Frauenrechte in diesem Land eher unglaubw\u00fcrdig. Alfredos Liebesgest\u00e4ndnis wird zwischen Mistk\u00fcbeln vorgetragen, was ihn scheinbar so verwirrt, dass er in Flaschenkisten st\u00fcrzt. Um idyllisches Landleben darzustellen, muss Violetta in Gummistiefeln einen Traktor reparieren (worauf Germont von \u201etanto lusso\u201c singt?). Die lebende Kuh von der Pariser Produktion hat hierzulande nicht den Tierschutzgesetzen entsprochen und wurde scheinbar auf die Almwiesen zur\u00fcckgeschickt. Alfredo \u2013 im karierten Holzf\u00e4llerhemd \u2013 sitzt bei einem Schubkarren, als ihn sein Vater mit \u201eDi provenza il mar\u201c zur\u00fcckgewinnen will. F\u00e4llt dem Regieteam zum Thema \u201eLand\u201c wirklich nichts Besseres ein? Danach muss der Chor vor flimmernden Graffiti-W\u00e4nden beinahe unbeweglich in skurrilen Kost\u00fcmen \u2013 Doktor Grenvil mit Dildo als unbegreiflichem \u201eKopfschmuck\u201c\u2013 ein mehr als geschmacksloses Fest bei Flora feiern. Mit gut gezeichneter, dramatischer Wirkung \u00fcberzeugt lediglich der Beginn des finalen Aktes, als die Todgeweihte ihre Chemotherapie erh\u00e4lt. Im Unterschied zu den anderen Patienten im Hintergrund ist die an Krebs Erkrankte (auch ohne Follower) vollkommen verlassen. Nicht einmal die \u2013 in Corona-Zeiten unerl\u00e4ssliche \u2013 Jogginghose st\u00f6rt (obwohl sie zusammen mit dem bauchfreien Top sehr unvorteilhaft wirkt). F\u00fcr die Autorin konnte der Regisseur das Werk Verdis nicht glaubw\u00fcrdig ins Heute \u00fcbertragen \u2013 besonders besch\u00e4ftigt die Frage nach Violettas Stigma, die zum Verzicht ihrer gro\u00dfen Liebe f\u00fchrt.<\/p>\n\n\n\n

Susanne Lukas<\/em><\/p>\n\n\n\n

\u201eLa traviata\u201c (1853) \/\/ Oper von Giuseppe Verdi<\/strong><\/p>","protected":false},"excerpt":{"rendered":"

Wien \/ Wiener Staatsoper (M\u00e4rz 2021)<\/span><\/br>
\n\u201eLa traviata\u201c stirbt in geschmacklosem Umfeld<\/p>","protected":false},"author":12,"featured_media":5458,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"tpgb_global_settings":"","_editorskit_title_hidden":false,"_editorskit_reading_time":2,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","_eb_attr":"","footnotes":""},"categories":[34,815],"tags":[892,277,891,889,888,480,422,893,423,450,425,426,424,890,894,451,481,577,159,140],"class_list":["post-5455","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rezensionen","category-rezensionen-2021-03","tag-giacome-sagripanti","tag-giuseppe-verdi","tag-igor-golovatenko","tag-juan-diego-florez","tag-la-traviata","tag-musiktheater","tag-oper","tag-opera-national-de-paris","tag-opernkritik","tag-opernstreaming","tag-orpheus","tag-orpheus-magazin","tag-premierenkritik","tag-pretty-yende","tag-simon-stone","tag-streaming","tag-streamingkritik","tag-susanne-lukas","tag-wien","tag-wiener-staatsoper"],"tpgb_featured_images":{"full":["https:\/\/www.orpheus-magazin.de\/wp-content\/uploads\/2021\/03\/FSG_Wien_La-traviata-La-traviata_D5B6027_YENDE-c-Wiener-Staatsoper-Michael-Poehn-scaled-e1615393584210.jpg",2560,1260,false],"tp-image-grid":["https:\/\/www.orpheus-magazin.de\/wp-content\/uploads\/2021\/03\/FSG_Wien_La-traviata-La-traviata_D5B6027_YENDE-c-Wiener-Staatsoper-Michael-Poehn-scaled-e1615393584210.jpg",700,345,false],"thumbnail":["https:\/\/www.orpheus-magazin.de\/wp-content\/uploads\/2021\/03\/FSG_Wien_La-traviata-La-traviata_D5B6027_YENDE-c-Wiener-Staatsoper-Michael-Poehn-scaled-e1615393584210-150x150.jpg",150,150,true],"medium":["https:\/\/www.orpheus-magazin.de\/wp-content\/uploads\/2021\/03\/FSG_Wien_La-traviata-La-traviata_D5B6027_YENDE-c-Wiener-Staatsoper-Michael-Poehn-scaled-e1615393584210-300x148.jpg",300,148,true],"medium_large":["https:\/\/www.orpheus-magazin.de\/wp-content\/uploads\/2021\/03\/FSG_Wien_La-traviata-La-traviata_D5B6027_YENDE-c-Wiener-Staatsoper-Michael-Poehn-scaled-e1615393584210-768x378.jpg",600,295,true],"large":["https:\/\/www.orpheus-magazin.de\/wp-content\/uploads\/2021\/03\/FSG_Wien_La-traviata-La-traviata_D5B6027_YENDE-c-Wiener-Staatsoper-Michael-Poehn-scaled-e1615393584210-1024x504.jpg",600,295,true],"default":"https:\/\/www.orpheus-magazin.de\/wp-content\/plugins\/the-plus-addons-for-block-editor\/assets\/images\/tpgb-placeholder.jpg"},"tpgb_post_meta_info":{"get_date":"10. 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