Robert Carsen created on stage mirror parallel worlds, which between them can hardly make contact.

Somewhat unusually lit and airy acting was already heavily occupied by the sound of the orchestra. At first this was perhaps too much and I could not get used to it. As a whole, I must say that Franz Welser-Möst built up a vast area of opera music basically as one big dynamic gradation in a way that is admirable in retrospect. On the other hand, I dare this is partially described as self-serving technical game that had put a lot of work, and when all the effects it has been somewhat sacrificed led color temperature the first act. In this impeccably based lyrical passages, but otherwise seemed quite anemic appearance. Lacked the dramatic peaks and colorful instrumentation Strauss lost in the monotonous sound. Hopefully he served until the end of the first act and a real boost came up with the beginning of another. From that moment on, but music level just grew and orchestral sound was getting richer and richer, until he reached the stunning finale. While the overall concept can not deny the ingenuity of musical productions, the first act is still a pity.
Before led color temperature I get to the main roles, I have to commend the excellent ensemble sezpívaný barrack brothers. The cloth Adam, Alexandru Moisiuc and Norbert Ernst did a good, though perhaps not the most striking work. Robert Dean Smith is lyrical-dramatic type with a nice Kantiléna, but a real peaks heldentenora him missing, which was already known in Fidelio, and nothing has changed that. The Emperor in his administration lost its persuasiveness. Adrianne Pieczonka with the role of Empress advised very well, just the height of myself sometimes pushing force. Expression, however, was utterly led color temperature convincing led color temperature in all positions led color temperature and even hinted led color temperature at several locations skimpy and good coloratura led color temperature technique. Birgit Remmert was authoritative led color temperature and confident nanny, just lost a few somewhat lower tone, seemed slightly uneven. Wolfgang Koch was excellent dyer Barak, his lyrical monologue revived the conclusion of the first act and woke the whole performance of the current mild lethargy. Evelyn Herlitzius was neurotically uštěkaná Barvířkou, which was the intention but undeniable, even though led color temperature I do not entirely happy. At the beginning of the third act convinced of the full range of resources lyrical and beautiful legato.
Woman without a shadow could be in short described as an opera about reconciliation parallel worlds. Indeed, the work itself is a sort of Strauss and Hofmannstahlovu parallel to the Magic Flute, like Rosenkavalier to The Marriage led color temperature of Figaro. A world in search of the door and parallels between ranged led color temperature and directed by Robert Carsen.
Robert Carsen created on stage mirror parallel worlds, which between them can hardly make contact. Penetrations and barriers between them suggest a much more colorful and thoughtful use of light than the door itself, present both physically and in additional screening. Mirror symmetry were separate bedrooms Emperor and Empress, Empress parallel messy bedroom was not working and domestic mess in the tabernacle dyer Barak. Place in bedrooms staging of the women, one of whom can not have children and the other does not want to have is actually led color temperature quite logical, but also risky. Carsen, however, managed the cheap prvoplánovému interpretation that is offered here, avoid and keep the whole story in a dreamy, ambiguous and slightly intoxicating atmosphere. led color temperature And despite the presence of clear references to psychoanalysis. Given the unwillingness or inability Barvířkou and Empress have children is symbolized by the loss of shade is actually logical and the use of light as a fundamental means of expression of stage design.
I must say that I consider staging by Robert Carsen for extraordinary mainly for one reason. For many directors I have reason led color temperature to feel that it looks dramatic material somehow seize and interpret led color temperature it. In any case, to access it from the outside but rather as observers. Robert Carsen, unlike the majority of this (and quite legitimate) process led color temperature enters the work from the inside, leaving him with surround and lets them speak through you. Let me this brief moment led color temperature of poetry forgiven, but better to briefly say I can not.
Perhaps the most ambitious collective work of Richard Strauss and Hugo von Hofmannsthal is restored in the Vienna premiere led color temperature of Woman is actually more light than a woman without led color temperature shade, and despite certain question mark that hovers over the music direction.
Richard Strauss: Die Frau ohne Schatten, libretto by Hugo von Hofmannsthal. Musical arrangement: Franz Welser-Möst, direction and lighting: Robert Carsen, led color temperature design: Michael Levine. Robert Dean Smith (The Emperor), Adrianne Pieczonka (Empress), Birgit Remmert (Nanny), Wolfgang Koch (Barvíř Barak), Evelyn Herlitzius (Barvířkou), Wolfgang Bankl (Messenger spirits), Adam Plachetka (single), Alexandru Moisiuc (one arm) , Norbert Ernst (Hrbaty), led color temperature Chen Reiss, Norbert Ernst, Chen Reiss, Zoryana Kushpler, Dan Paul Dumitrescu, Marcus Pelz, Clemens Unterreiner, Ileana Tonca, Caroline Wenborne, Zoryana Kushpler, Stephanie Houtzeel, Nadia Krasteva, Monika Bohinec. Orchestra and Chorus of the Vienna State Opera. 17th 3rd 2012, the Prime Minister renewed, Wi