Munich – It started out a little messy. The queue in front of the test site in the Grtnerplatztheater spans the entire forecourt. The annoyed senior tester shows that he is not interested in the booked appointments, although his shop, which is independent of the theater, sends out appointment confirmations. Then it goes – reasonably – quickly and the premiere of Gaetano Donizetti’s “Anna Bolena” begins punctually before the approximately 200 admitted visitors, who have been tested, vaccinated and masked.
Moving podiums, historical costumes and concert clothing
Anything else would be a shame. Because the Grtnerplatztheater has – like in 2017 with Bizet’s “Perlenfischern” – found a happy solution for musically interesting, but not necessarily repertoire-suitable works.
The singers wear historical costumes, the choir concert clothes. The director Maximilian Berling arranged the appearances and resignations. A few videos underline the mood, moving stage podiums manage to bring about the harpist and her instrument who are only involved in one act.
The suggested staging avoids the embarrassing ceremony of a concert performance. The eye is still listening, and with the help of the upper title, the conflict of love and jealousy about Henry VIII and the change from the second to the third wife becomes as understandable as necessary. If the memory doesn’t bear, there wasn’t much going on in Jonathan Miller’s production with Edita Gruberova in 1995 on the stage of the National Theater.
Instead of a diva, the soprano is a naive young woman
The Grtnerplatztheater can also easily keep up musically. Jennifer O’Loughlin doesn’t like being a true dramatic coloratura soprano. She apparently knows that wisely herself: SHE does not eat the diva, but a somewhat naive young woman who is morally wrong and IS eliminated with the help of a rather nasty intrigue. The design remains – beyond gliding high tones – possibly a little little color-poor. But the renunciation of mannered theatrics in favor of a fundamental musical honesty fits this figure better.
The fact that her rival Margarita Gritskova turns up the organ as Giovanna Seymour with a mighty mezzo is an effective contrast. With his slim, elegant tenor, Lucian Krasznec makes the most of the rather ungrateful tenor role of the dispassionately loving Percy. He is also a member of the ensemble at the house, as is the newcomer Sava Vemic.
The new addition shines with differentiated presentations
The Serb not only sings the king with an opulent, but nevertheless very agile black bass, but also puts an easily offended, jealous man as diverse as possible on the stage.
The way in which a squatting with only two guests puts on the stage a Prima donné opera that is difficult to realize is astonishing. The highest experts perceive that the orchestra of the Staatstheater am Grtnerplatz plays with Corona-related caution with a gently reduced cast.
Orchestra and choir harmonize equally
Another benefit is the conductor Howard Arman, who is mainly artistic director of the BR Choir. He not only ensures precision, but with a lot of dedication also creates dramatic momentum. As an example, it becomes clear that the orchestra not only accompanies romantic bel canto, but also acts as an equal partner in the vocal performance.
A well-rounded affair too. And a performance without the indiscreet charm of muckefuck or artificial honey, the term “semi-scenic” unfortunately sticks. The live premiere of “Anna Bolena”, which was shown as a stream for the first time a year ago, was appropriately cheered by the few present.
And because really fast money can be earned with testing, the capacities will soon be expanded again so that going to the theater does not have to be a tremendous party. Some things are regulated by the market.
Again on November 28th, 6pm and on December 2nd, 7.30pm in the Grtnerplatztheater