The Maestro and the Olympic Athlete. A legendary example of an acoustic and physical nightmare is the “Scena delle maschere” (Don Giovanni): Donna Anna, Don Ottavio, and Donna Elvira sing the trio “Protegga il giusto cielo.” For this ball scene, Mozart composed three different on-stage ensembles that play simultaneously with the orchestra in the pit. Each group plays in a different time signature—namely, 2/4, 3/4, and 3/8. At the same time, the soloists walk among the partygoers while singing. \\\”Well, here\\\’s another nice mess you\\\’ve gotten us into!\\\”
Tag: Lorenzo Viotti
Die Fledermaus. The audience responded with consistent enthusiasm, even if a full standing ovation did not materialize. Musically and theatrically – especially in the direction of the principals and the choreography (direction: Anna Bernreitner, dramaturgy: Jana Beckmann) – the work was of an extremely high standard. One had the impression of extremely thorough rehearsal, which had brought great enjoyment to all involved, and of an authentic creative flow that never felt forced. The isolated boos for Patti Basler and the production team at the curtain call were, to us, incomprehensible.