Rightly so, because the scenario in the house on the ring seemed strange. The seats in the parquet are dismantled to a hundred. Only a faint, electric whir was audible. But then came Groissböck, sang of rebellion and humility, of hope and longing, made microcosms appear in front of the iron curtain, was about Schubert’s “Schiffer”, who struggled with his life. Alexandra Goloubitskaia was a reliable accompanist for him on the piano.
Remarkable how after this act of violence he still had the strength for Mahler’s “Urlicht”. The virus prevented his debut as the father of gods in Wagner’s “Ring” in Bayreuth, which will come next season at the Vienna State Opera, if only in the “Valkyrie”. He gave a prospect with the encore, “Wotan’s Farewell to Brünnhilde”. With an intensity, Groissböck made the opera what it is again. Breathtaking he closed with Schumann’s “Grenadiers”. Standing ovations.
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