Everything is fun on earth

With a new production of Giuseppe Verdi's last opera, Falstaff, the Gärtnerplatztheater first played in the reconstruction phase in which the theater is closed, in an alternative venue, the Prince Regent Theater. At the same time to say goodbye to the director, Dr. Ulrich Peters and many members of the ensemble of the opera for the Munich public.
Falstaff has his best days behind him, once he was a tall, slim fellow at the court, which has brought it to the Knights, now he is an alcoholic and fatty. His self-perception is still somewhat clouded, and he says, his empty wallet could fill when he seduces a couple of rich ladies. So hastily to Alice Ford and Meg Page written, for simplicity an identical letter, with different names. The ladies discover the fraud and decide to play a trick on the braggart and arrange to meet with him. However, it is dicey, as Alice's jealous husband gets wind of it. Then there is also Bardolfo and Pistola, Falstaff's servants, wonderfully true to the Bavarian saying "Here's how the Lord Gscherr". Since they are once gone Falstaff too much on his nerves, he has shown the door. In revenge, they ally themselves with his opponents. Also still mixes with Dr. Caius, who likes the sweet Nannetta, the daughter of Ford's, would marry. The Fenton and loves but it's certainly not giving too much away to him at the end after a turbulent Verwechselspiel, real and fake marriages also get.
So a comedy that thrives on puns. Because unfortunately did not fit, that the opera is played against the tradition of folk theater as Gärtnerplatztheater in Italian with surtitles. The Prince Regent Theatre on the titles are easy to read, but had some really egregious errors in it, and were sometimes too fast, so I am not come along. Unfortunately, I pull over title to whatever magic so that I have almost always look and learn in what is happening on the stage only in passing. Only in opera, which I know very well, I manage to ignore it. As I look at the other seven ideas will look even more, this will change and I can probably still a little deeper into the dramatic action. What is more, a similar material is handled in The Merry Wives of Windsor by Otto Nicolai and I love this opera, the music is so thrilling that I would like to jump up and participate. In contrast, the material comes across a bit dry in Verdi.
What I have noticed, however, has pleased me very well. The stage of Christian Flören is very versatile. The plot is based on the time of origin, but more in London than in Windsor. Part one sees brick building on the horizon on the other side of the river power plant that could be the Battersea Power Station, but it has been taken into operation in 1933. There are many funny little things, such as theater posters and a really wet Falstaff, who rises from the Thames. The costumes, also fit for the era of Christian Flören. Ulrich Peters tells the story for what it is - a comedy. And what says Otfried Fischer: What is slightly heavy. It has pace, slapstick, a bit of Loriot. A feast for all the euro trash damaged opera lovers. If a director is listening to the music and not desperately looking for innovative Interpretionsansätze, you can enjoy as a spectator also be someone with pure plant.
It was a great evening. The acoustics in the Prince Regent Theatre meets the protagonists so you could enjoy the wonderful sound of the Verdi Orchestra under Lukas Beikircher. The star of the evening was undoubtedly Gregor Dalal, the Falstaff of sung not only very honored, but also played well. At his side were still members of the ensemble of Gärtnerplatztheater. It speaks for the ensemble idea, if you can occupy areas to the smallest supporting role and motivated with excellent singers. Unfortunately, you will be able to enjoy the evening occupation in the future, for the most part no longer in Munich, as the new director on a few big names (or whom he holds it) is in the leading roles. Gary Martin, still fresh in your memory as Joseph in the same piece of Detlev Glanert, showed his versatility and gave a brilliant Ford, who was celebrated by the audience. Robert Sellier was not only Nannetta heart beat faster with his singing and wonderful scenic Fenton. Hans Kittelmann embodied the Dr.Cajus fabulous, unfortunately you have to go to Nuremberg in the future, if you want to experience it. Mario Podrečnik than playing tenor in the role of Bardolfo a class by itself. He sings and shows excellent slapstick, which itself would not be ashamed of Stan Laurel. The duo Martin Hausberg as Pistola supplemented splendid. Ulrich Peters has yet invented a character, Dieter Kettenbach occurs as a friend Falstaff in a nearly silent role. He is like Verdi commented on her hair and with his appearances without words what is happening. Nice to be able to experience this again in a sympathetic actor tailored role for him.
The female team leads to Sandra Moon as Alice Ford. She sings beautifully, in the role but it would have done a little more oomph well. I still remember with fondness her Countess Almaviva, who has sung it fantastically and enriched with incredible comedy. Christina Gerstberger enthusiastic as Nannetta with bell-like soprano, Franziska Rabl as Meg Page is acting quite fabulous and Ann-Katrin Naidu takes you from the procuress Mrs. Quickly sight unseen. The fact that she flirts with Falstaff at the end fits her. The choir rehearsed very well by Jörn Andresen, was, as always at its best, but unfortunately had little to do.