Of Ghosts, Phantoms, Cats & Christmas Markets
In summer 2012 the VBW announced a dozen of "Phantom Of The Opera" concerts at the Ronacher. Not having seen it in German since it was on in Hamburg (and never went to it when it was on in Vienna originally) I decided to go as being a fan of Vienna and the local Christmas markets on then too.
But a simple weekend trip just to Vienna is so not me and when the cast announcement of this year's 'Vom Geist Der Weihnacht' production in Essen was made and I learnt my beloved Oliver Nöldner would be in it, I also had wanted to go to the Stuttgart (in and around) Christmas markets for years, the touring production of Cats on there currently, a cheap flight available from Stuttgart to Vienna it turned into four days (as I went home via Salzburg (a city I love even more than Vienna) on Sunday evening ;) ) of madness though I was never stressed and loved every minute treasuring all beautiful memories.
After visiting Essen's Christmas market in the afternoon (disappointing one) first show was "Vom Geist Der Weihnacht" I saw already in the last years.
It is a nice show just does a stunt casting every year for the female lead role of the angel/Belle (as can be read >>here already) which usually does not work for me and this year it got even worse.
The role was given to the German singer LaFee who started her music career when still a teenager and now at the age of 21 took over her first musical role with no proper stage experience and/or decent training.
And that is what you could see so well - it was a most wooden, amateurish performance, even worse than Sandy Mölling in the last two years. She might have made the right steps, moves etc. but it was just imitated and not acted and especially not lived.
Her singing could not impress either. She certainly has a nice-ish voice, a bit thin and out of breath (okay she might have a caught a slight cold) occasionally, in the lower register she sounds okay but in the higher ones she struggles massively sounding strained and more yelled than sung - it hurt especially during the actually really beautiful ballad "Ein Leben Lang" (it also didn't help that Krisha Dalke as the young Scrooge was just so dull again, seriously has he ever been in love? If he has and knows how it feels why can he not show such a feeling on the stage???? ).
Klaus Seiffert was certainly good as Marley, he is just not my cup of tea missing the despair I want to see in his speaking voice (and I find his voice too deep for some of the songs Marley sings so that he sounds just not right for the higher register bits - and I still miss Ron Holzschuh from the 2010 production - a lot).
Kristian Vetter at their side as Scrooge is (nearly) as impressive as last year. Unfortunately some of the comedy moments are being exaggerated even more this year just for laughs it seems.
The show doesn't need that though so wished they/he dropped it. Saying that the emotional side of Scrooge is grandly played - in tears near end.
After last year's disaster casting it was such a delight to see Jeanne-Marie Nigl as Mrs Fezziwig/Mrs Shellcock whose performance is such a blast. The rap she does as Mrs Fezziwig is full of energy and vibrancy and her Mrs Shellcock, a ghost, is so facetious and diverting. Same goes for James Sbano as Mr Fezziwig/ who took over from Axel Kraus, whom I really liked, but James is (nearly) as good just missing a tiny bit of comfort in the part but am sure by the mid of the run he will be there.
Seeing Thomas Schweins as Mr Cratchit, Scrooge's only employee, was weird as the last time I saw him onstage was as Professor Abronsius in Tanz Der Vampire this summer and he speaks this part with a rather similar voice while character wise they are so different. But nevertheless an interesting approach to that part.
I was not keen on this year's Timmy. His singing is stunning and I would love to see him in another show so he can actually properly show it off as in this he has only limited chances to do so but his speaking voice reminded me of the German voice as mini-frog Timmy in "The Muppet Christmas Carol" and his play was always a tiny bit too kitschy and contrived for me. Florian Peters last year was a lot more natural and adorable.
Dirk Hinzberg and Stefan Stara replaced the once regulars Alexander Prosek (now at the TfN) and André Sultan-Sade as Mr. Highprice and Mr. Lowprice. While they are not (yet) feeding off each as mad as the others did in prior years especially Dirk Heinzberg is most enjoyable not being totally OTT which I never really liked. Again, maybe a few more shows and they are being even most comfortable with their parts.
With all the new faces it was nice though to see familiar faces as the beautiful Stefanie Wesser, Thorsten Ritz and of course "my" Oliver Nöldner who made my day (again). Sitting in the front row at the middle aisle, a few cast members are coming onstage walking through the auditorium including him, he saw me with the most lovely reaction. Ah, bless, I adore him... (sigh! ;-) )
Overall a lovely evening, but once again I can only hope for a decent angel/Belle next year - a hope I had already in the last years but never fulfilled.
Maybe next year (someone just give that part to Stefanie who is most perfect for it)???
Cats Stuttgart - 30th November 2012
Das Phantom Der Oper (Concert) - Vienna Ronacher Theatre - 1st December 2012
After visiting Essen's Christmas market in the afternoon (disappointing one) first show was "Vom Geist Der Weihnacht" I saw already in the last years.It is a nice show just does a stunt casting every year for the female lead role of the angel/Belle (as can be read >>here already) which usually does not work for me and this year it got even worse.
The role was given to the German singer LaFee who started her music career when still a teenager and now at the age of 21 took over her first musical role with no proper stage experience and/or decent training.
And that is what you could see so well - it was a most wooden, amateurish performance, even worse than Sandy Mölling in the last two years. She might have made the right steps, moves etc. but it was just imitated and not acted and especially not lived.
Her singing could not impress either. She certainly has a nice-ish voice, a bit thin and out of breath (okay she might have a caught a slight cold) occasionally, in the lower register she sounds okay but in the higher ones she struggles massively sounding strained and more yelled than sung - it hurt especially during the actually really beautiful ballad "Ein Leben Lang" (it also didn't help that Krisha Dalke as the young Scrooge was just so dull again, seriously has he ever been in love? If he has and knows how it feels why can he not show such a feeling on the stage???? ).
Klaus Seiffert was certainly good as Marley, he is just not my cup of tea missing the despair I want to see in his speaking voice (and I find his voice too deep for some of the songs Marley sings so that he sounds just not right for the higher register bits - and I still miss Ron Holzschuh from the 2010 production - a lot).
Kristian Vetter at their side as Scrooge is (nearly) as impressive as last year. Unfortunately some of the comedy moments are being exaggerated even more this year just for laughs it seems.
The show doesn't need that though so wished they/he dropped it. Saying that the emotional side of Scrooge is grandly played - in tears near end.
After last year's disaster casting it was such a delight to see Jeanne-Marie Nigl as Mrs Fezziwig/Mrs Shellcock whose performance is such a blast. The rap she does as Mrs Fezziwig is full of energy and vibrancy and her Mrs Shellcock, a ghost, is so facetious and diverting. Same goes for James Sbano as Mr Fezziwig/ who took over from Axel Kraus, whom I really liked, but James is (nearly) as good just missing a tiny bit of comfort in the part but am sure by the mid of the run he will be there.
Seeing Thomas Schweins as Mr Cratchit, Scrooge's only employee, was weird as the last time I saw him onstage was as Professor Abronsius in Tanz Der Vampire this summer and he speaks this part with a rather similar voice while character wise they are so different. But nevertheless an interesting approach to that part.
I was not keen on this year's Timmy. His singing is stunning and I would love to see him in another show so he can actually properly show it off as in this he has only limited chances to do so but his speaking voice reminded me of the German voice as mini-frog Timmy in "The Muppet Christmas Carol" and his play was always a tiny bit too kitschy and contrived for me. Florian Peters last year was a lot more natural and adorable.Dirk Hinzberg and Stefan Stara replaced the once regulars Alexander Prosek (now at the TfN) and André Sultan-Sade as Mr. Highprice and Mr. Lowprice. While they are not (yet) feeding off each as mad as the others did in prior years especially Dirk Heinzberg is most enjoyable not being totally OTT which I never really liked. Again, maybe a few more shows and they are being even most comfortable with their parts.
With all the new faces it was nice though to see familiar faces as the beautiful Stefanie Wesser, Thorsten Ritz and of course "my" Oliver Nöldner who made my day (again). Sitting in the front row at the middle aisle, a few cast members are coming onstage walking through the auditorium including him, he saw me with the most lovely reaction. Ah, bless, I adore him... (sigh! ;-) )
Overall a lovely evening, but once again I can only hope for a decent angel/Belle next year - a hope I had already in the last years but never fulfilled.
Maybe next year (someone just give that part to Stefanie who is most perfect for it)???
Next day, next show: Cats in the evening after a day in Stuttgart and its main Christmas market.
I hadn't seen Cats (no reason for a synopsis I suppose) for over 18 months and I won't go into too much detail.
After seeing it way too often in winter/spring 2011 (life was extraordinary back then) despite even not being a major fan of it but because of some people in it I mainly just returned to again seeing some people in it - Robert D. Marx as Munkustrap and Jack Allen as Mr Mistoffelees.
The part of Mr Mistoffelees is certainly (one of) my favourite(s) in the show and seeing Drew McOnie in it a lot during its Hamburg run when the actual was injured and Drew temporarily covered him was giving me some most magic memories (one reason why I constantly returned) and seeing Jack now reminded me again of what is so special of that part, something I never felt when seeing the other guy.
Jack Allen is a most talented performer, technically in my eyes perfect for the part and he has the right slightly archane charisma making this performance most impressive. His Misto is also adorable, sweet and cheeky, just as I want the part to be.
Besides them Yngve Gasoy Romdal as Bustopher Jones/Asparagus/Growltiger was bugging me - again as in pretty much all parts I have seen him in for the last few years totally over-acting always being a bit or two or three too much and do not get me started on his accent. Seriously, this man has been in this country now for YEARS. When will he deliver a decent German or is actually taking the p***??
Nazide Aylin was on as Grizabella and was just okay for me. I cannot understand the raving about her. Yes, she has a stunning voice BUT her portrayal of Grizabella left me totally cold, something Masha Karell never did neither did her understudies I saw back then. It seems that Nazide's focus was on just getting her one big song and its felt 100 reprises sung nicely but forgetting what the part is about.
Also most of the other female parts as Maria Walter as Demeter could only partly convince. It seems again that the main focus was getting dancers who can sing decently even if vocally a bit thin.
The male parts are more enjoyable.
Gavin Eden as Mungojerrie was also delivering such a polished hilarious performance giving the part new facettes to what I had seen before having me in stitches during the Mungojerrie & Rumpleteazer number.
Overall it was nice to see the show again though I will not return too soon. There are other shows I enjoy more as what I witnessed the following night after a very short night, a 7am flight and a whole day walking around in beautiful Christmas-sy Vienna.
As mentioned >>here I am not a major fan of PotO but seeing the concert was certainly special.
It was in the early 1990's that I saw it in German the last time. With seeing it once every year or two in London while it ran in Germany I felt no urge to see it but in London but I did not want to miss one of the VBW concerts which were set up to celebrate the 25th anniversary of the in house orchestra.
Fortunately the casting was also not the usual dull one as sleeping pill Thomas Borchert as the phantom or someone even worse.
Phantom - Christian Alexander Müller
Christine Daée - Lisa Antoni
Raoul, Vicomte de Chagny - Oliver Arno
Madame Giry - Michaela Christl
Monsieur Firmin - Reinhard Brussmann
Moinsieur André - Ramin Dustdar
Carlotta Giudicelli - Siphiwe McKenzie
Ubaldo Piangi - Enrique Corona
Meg Giry - Anna Carina Buchegger
Joseph Buquet / Don Attilio / Passarino - Einar Gundmundsson
Monsieur Reyer - Michael Kargus
Ensemble: Colleen Besett, Martina Haeger, Anja Haeseli, Ruth Kraus, Nadja Plattner, Martina Dorothea Rumpf, Anna-Marijn Smulders, Carmen Wiederstein, Barry Coleman, Guido Gottenbos, Faik Hondozi, Jörn Linnenbröker, Lutz Standop, Timo Verse, Arcangelo Vigneri
Choir: Gezin Berisha, Birgit Breinschmid, Cathrin Chytil, Albena Evtimova, Ulrike Hallas, Ruth Hausensteiner, Manuel Heuser, Alixa Kalasz, Ghazal Kazemiesfeh, Markus Kuderer, Vanessa Lanch, Hong Luo
Dancers: Emma Hunter, Aleksander Savija
I do love such concerts, whether not staged, semi staged or whatever as it can give a show often new impulses even when it is a show that is so familiar as 'PotO'. with creative ideas as the video projections and the dancers as mentioned further below, also with this being a concert a focus being on the orchestra giving them so much stage space that was well conducted by Koen Schoots sounding smoothly full, detailed and harmonious most probably being THE stars of the night being what I expect from an orchestra being bombastic when it is to be and subtle when it is to be - and not what I usually get at a Stage Entertainment show or a rep theatre when the orchestra have not understood what the show is about and just play the music but not feel it.
I personally was only partly keen on Lisa Antoni as Christine Daée unlike most others who have written about the show.
Yes, she sings nicely, even if I prefer Christine to have a less "dark" full voice and more a clear "girlie" soprano, but it is too often for me going down the too classical opera path which I already did not like when e.g. seeing Sofia Escobar. Yes, it shall be classical but I still want it to sound like a musical.
Her interpretation was not my cup of tea either, what she did was wonderfully played, but her Christine was more just scared of the phantom and not being torn between either the fear and the appeal of him which I hardly saw and certain reactions as during "The Point Of No Return" she played compellingly would not have made totally sense for me if hadn't known the show before.
Saying that seeing radiant Anna Carina Buchegger as Meg Giry actually made me want to see her in the role of Christine as she just has the clear voice I want to hear being a lot stronger and more natural than Lisa Antoni. Normally I cannot care less about that part being cast with dancers who are vocally not great and usually very much one dimensional but this time I felt a lot more being touched by a affectionate and glowing Meg Giry - and that the young lady was totally wasted.
Of the lead cast Oliver Arno was the biggest positive surprise for me. I do like him and I enjoyed him e.g. as The Death in Elisabeth, I just never rated him too highly as a great performer but with the role of Raoul, one that suits him having not only the ideal looks, he can finally show that he is indeed a true talent.
Similar to Simon Thomas as Raoul of the current London cast he gives his Raoul a lot more depth and strength being pugnacious and proud and not as shallow and pale as other Raouls in the past.
Emilio Ruggerio had his funny moments, even if they were limited (or maybe because) as he sounded totally under-rehearsed not making a lot out of the part. Yes, his part is one that is a bit dumb but it all felt so wrong. A bit disappointing.
I personally loved Siphiwe McKenzie as Carlotta. She was diva-esque but finding the right balance to never get annoying and with this being a concert she focused on the key element of a concert: the music. She maybe even could make me see a proper opera again. ;-)
Michaela Christl as Madame Giry was very different to what you normally get or at least what I have seen with the character usually being rather cold and strict. Michaela's Madame Giry actually seems to have a heart and emotions, some people clearly did not like (Madame Giry on drugs was one comment I read), well I did like that.
Ramin Dustdar as Monsier André and Reinhard Brussmann as Monsier Firmin are enjoyable with good comical talents (though I could have done without the occasional Viennese touches) and solid singing with most of their scenes and of Carlotta being slightly exaggerated. A personal favourite of mine was Michael Kargus as Monsieur Reyer, the opera house's maestro with his exhilarated and eccentric play. The rest of the ensemble and the choir does deliver great work harmonising well with special mentioning of Lutz Standop and Lucius Wolter.
THE highlight though was Christian Alexander Müller for me. There have been some negative comments about his performance which shocked me wondering whether people saw the same show I did.
Vocally of highest standard accentuating and elaborating perfectly his acting totally matched that. His interpretation is certainly unique being angel and devil (even without wearing the mask, which just appeared at the very end of the show) at the same time he catches the essence of the character. Already shining in act 1 when e.g. performing the title track or the riveting "Music Of The Night" he delivers an enthralling fascinating "The Point Of No Return" that made my jaw drop.
Seriously, someone may not like the style but how you can see it as negative as some is not understandable for me being so breathtaking and fresh.
A major discussion point were the two dancers who danced during the instrumental bits but where also some kind of visual underlining of the phantom's and Christine's feelings. The choreography by was sometimes a bit too much, Aleksander Savija especially not always clean (though seriously how beautiful and charming is Emma Hunter...), but unlike others as known Martin Bruny who wrote this nasty twisted piece of "review" on his blog, it did not take the focus away from the leads for me.
Yes, there were moments when I wished they were not onstage as when the moment got rather intimate but with the leads not totally acting out the parts in some scenes it often also suited the show IMO to highlight the emotional status (even if I found the choreography (by Pascale Chevroton) occasionally not right for the moment).
Some other people's reviews focused massively on the projections at the back (by fettFilm) sometimes showing scenery, sometimes a baby (doll ?) face first with closed eyes, later with opened eyes being very negative about the it and other pictures etc., though I was not too keen on some of them these not 100% right ones but they didn 't bother me at all and I focused on the actual performances of the cast and the orchestra anyway a lot more. Looking back I can understand the ideas they had with these and actually find them creative.
Overall it was a most magnificent show and a splendid way to re-discovering it after being so used to the aged production in London.I can only hope that there will be more kind of concerts in the future.
