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Performances

22 Jan 2005

Così fan tutte at Wiener Staatsoper

Mag sein, manch einer findet die forsche Gangart, die Julia Jones bei Mozart einschlägt, ein wenig zu schnoddrig. Doch erweist sich: Die Dirigentin weiß in jeder Phase einer Aufführung, was sie will, behält die Übersicht über die Dramaturgie und hält Orchester und Bühne immer fein zusammen – und das in raschem Lustspielton. Alles Eigenschaften, die heutzutage offenkundig auch in der Wiener Staatsoper rar geworden sind.

Kritik: "Così fan tutte" in der Staatsoper
Mit "Così fan tutte" verbesserte sich der Mozart-Ton schlagartig.

Mag sein, manch einer findet die forsche Gangart, die Julia Jones bei Mozart einschlägt, ein wenig zu schnoddrig. Doch erweist sich: Die Dirigentin weiss in jeder Phase einer Aufführung, was sie will, behält die übersicht über die Dramaturgie und hält Orchester und Bühne immer fein zusammen - und das in raschem Lustspielton. Alles Eigenschaften, die heutzutage offenkundig auch in der Wiener Staatsoper rar geworden sind.

Zwischendurch finden die Musikanten, da rundum im komödiantischen Korsett alles fest sitzt, auch Gelegenheit, ein wenig Klangzauber und improvisatorischen Geist einzubringen - vor allem ätherische Bläserfarben, die sich etwa im himmlischen Terzett des zweiten Bilds (Flöte!) und in Solonummern wie der E-Dur-Arie der Fiordiligi (Klarinette, Horn!) ergeben. Da blüht dann neben dem makellos schönen Gesang der Soile Isokoski auch philharmonischer Klangsinn auf, wie er früher einmal selbstverständlich war. Wie er sich auch im Verein mit dem vor allem in der ersten Arie traumverloren schön singenden Ferrando von Michael Schade zwischen Vokal- und Instrumentallinien ergibt, wie er auf manch verschmitzte Pointe reagiert, die von Heimkehrerin Helen Donath, einer selbstironisch hintergründigen Despina, gesetzt wird.

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