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Performances

10 Feb 2005

Der Rosenkavalier at Graz

Hugo von Hofmannsthal bemerkte 1921, dass der “Rosenkavalier gar nichts sei, wenn nicht ein Dokument der österreichischen Wesensart”. Dieses Diktum schien die Maxime der Grazer Neuproduktion gewesen zu sein. Marco Arturo Marelli, verantwortlich für Inszenierung, Bühne und Licht, ist überhaupt ganz offensichtlich ein genauer Kenner von Hofmannsthals Meisterlibretto. Den innersten Fasern und Nuancen des Textes folgend, gelang es ihm mittels eines riesigen, schräg über der Bühne platzierten Spiegels und einer hochsensiblen Lichtregie eine sinnlich-dichte Atmosphäre zu schaffen, eben genau jene spezifisch österreichische “Lebensluft”, um die es Hofmannsthal zeitlebens so intensiv zu tun war.


Stephanie Houtzeel (Octavian), Wolfgang Bankl (Baron Ochs), Ann Petersen (Feldmarschallin)
Photo: Grazer Oper

"Rosenkavalier": Ein lerchenauisch Glück...

VON HARALD HASLMAYR [Die Presse, 8 Feb 05]

Die Neuproduktion des "Rosenkavalier" an der Grazer Oper geriet zu einem Erfolg auf allen Linien.

Hugo von Hofmannsthal bemerkte 1921, dass der "Rosenkavalier gar nichts sei, wenn nicht ein Dokument der österreichischen Wesensart". Dieses Diktum schien die Maxime der Grazer Neuproduktion gewesen zu sein. Marco Arturo Marelli, verantwortlich für Inszenierung, Bühne und Licht, ist überhaupt ganz offensichtlich ein genauer Kenner von Hofmannsthals Meisterlibretto. Den innersten Fasern und Nuancen des Textes folgend, gelang es ihm mittels eines riesigen, schräg über der Bühne platzierten Spiegels und einer hochsensiblen Lichtregie eine sinnlich-dichte Atmosphäre zu schaffen, eben genau jene spezifisch österreichische "Lebensluft", um die es Hofmannsthal zeitlebens so intensiv zu tun war.

Virtuos auch das Spiel mit den Zeitebenen: Atmete der erste Akt noch die Rokokofarben Tiepolos, spielte der zweite bereits im Gründerzeitmilieu, während im letzten Bild herbstlich-melancholische Schnitzlerstimmung dominierte - der Spiegel konnte hier gleichzeitig als gebrochener wie auch als einer in elegantem Jugendstil gedeutet werden. Die genuine Milde der Figuren Hofmannsthals gegenüber der "Schwäche alles Zeitlichen" kam durch die sich kaum merklich, jedoch kontinuierlich drehende Bühne subtil zum Ausdruck.

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