By: Kurt Gänzl

Kurt Gänzl — Tue, 13 Mar 2018 04:23:21 +0000

It is a rather depressing schedule. I don’t think I’d travel to Dresden for any of that. New Victor Hugo musicals are a drug on the market since LES MISERABLES, GALATHÉE is a grand piece (vide Wiener Kammeroper production by Stewart Trotter), but ONE TOUCH OF VENUS? Why? Admittedly miles better than FIREBRAND (what an aberration!), but .. why? There are hundreds of neglected German language Operetten and Possen of a much higher standard! Since the theatre is subsidised, surely it has a more duty as well as an artistic one, to at least give the classics a showing. Did Millöcker, for example, never exist? Where is BETTELSTUDENT where FATINITZA where a proper BOCACCIO (Volksoper production with Skovhus pathetically regietheatered).I could go on for hours. But I won’t. You get the message.
PS operatic tourists (of which I have long been one) do NOT come to see the likes of MY FAIR LADY, KISS ME KITTY or CANDIDE in translation. And certainly not THE ROCKY HORROR SHOW and HAIR. We have grown up now, children.
I come to see classics of the Berlin and Vienna stages, new German musicals (maximum cast 10 and preferably not microphones) .. we come to see the German-language theatre showing off its antique glories and its new prides …
And Staatsoperette? Operette? ZAUBERFLÖTE? I can see world class players such as Siobhan Stagg. Matthew Newlin, Alexandra Hutton et al at the DO. Why would I go to Dresden to hear Anna Schmidt?
All in all …
A season as above is simply unattractive.
I won’t be coming to Germany this year.
The whole system of German theatres needs to be reviewed.
This is simply depressing.
Bring back Jana Frey …

Comments on: Who’s Got The Last Laugh Now? Wolfgang Schaller’s Farewell At Staatsoperette Dresden

By: Kurt Gänzl