Frühere Produktionsrezensionen
3The young Achim Freyer’s design is a marvel of ingenious simplicity. The floor of the stage is white with thinly etched black lines. An area in the centre of the stage is enclosed by a square of white curtains, an image of a Seville street gently etched upon them. These curtains are opened and closed to allow access to action, which floats playfully above concrete concerns of verisimilitude. The music lesson’s harpsichord is an ingenious trompe-l'œil box; the storm is enacted with the simplest and most effective means.
And Sebastian Weigle, once the horn player of the Staatskapelle, now leads the opera as a conductor with a deep understanding of the forest romance and the sensitivity of the fairy tale tone: he places the orchestra's most cautious pianissimo under the enchantingly clear voices of Katrin Wundsam as Hansel and Elsa Dreisig as Gretel. "
That is certainly the greatest architectural and acoustic treasure of this house: proximity. In Achim Freyer's production of “Hansel and Gretel” you sit inside a child's heart. It is a dark room of dreams and lust, of fear and wishes, of a fantasy that gives birth to the monstrous: a garden spider as God in heaven, a giant cat with white mice sticking to its tongue, and a witch with sausage lips and a coffee cup hat.
