Theater Osnabrück/LUISA MILLER/Photo: Stephan Glagla
The celebrated premiere of Verdi‘s opera Luisa Miller in the Osnabrück Theater took place on September 14, 2024. Judging by the enthusiastic audience reaction to the final applause, attending the performance the day before yesterday was equivalent to a premiere celebration. In the very well-attended house, the audience did not skimp on shouts of bravo and long rhythmic clapping for all the artists involved in the performance. Overall, a more than convincing ensemble performance with an outstanding Tetiana Miyus as Luisa, who made the audience cheer in this demanding role with her singing and acting. (Review of the performance by October 20, 2024)
Verdi’s musical adaptation of the Schiller classic “Cabal and love“no longer has much to do with the template. At the time this opera was written, the composer had to bow to certain censorship constraints and political requirements and thus removed some of the social explosives from the original play. It should be more love than cabal. But this gave Verdi the opportunity to use his inimitable musical language for emotions and dramatic situations.
Theater Osnabrück/LUISA MILLER/Photo: Stephan Glagla
Manuel Schmitt staged Verdi’s opera, which premiered in Naples in 1849 Luisa Miller with a finely tuned direction of the characters in this drama, and often used the simultaneous possibility of two playing areas, which gave him the two-part stage (set and costume: Sebastian Ellrich) offered to do this. While the world of Luisa Miller and the downtrodden people was depicted in the front, lower part of the stage, the upper part of the stage was reserved for the nobility and seemingly noble people. While the count and his entourage danced in the upper part of the stage, the drama surrounding Luisa took place in the lower area. The barren stage set showed a dreary, rather winter-like landscape with trees that had long since lost their leaves and were only towering weakly. These trees, as wintry and colorless as they appeared, seemed to no longer experience spring.
Schmitt’s direction is not that of a grand opera, rather it is one that places the quiet focus on Luisa Miller and the people surrounding her, mostly men. The scene in which Rodolfo expresses his boundless disappointment with his Luisa in the popular aria is deeply affecting „When the evenings are peaceful“ and accuses her of lying and betrayal, while in the upper section of the stage she can hardly defend herself from Wurm’s lecherous and invasive advances. For me the most impressive scene of the evening.
The intrigue that Wurm created to fulfill his personal wishes seemed to pay off for him at that moment. He had destroyed Luisa and Rodolfo’s love affair and proven his subservience to his master, the Count. But in the end his intrigue was directed against himself. Not only that. The poison of this intrigue spreads to everyone. Rodolfo and Luisa die together and are reconciled. But first, Rodolfo judges the hated worm and curses his father. Luisa’s father is left broken inside.
Manuel Schmitt brought Verdi’s opera drama to the stage of the Osnabrück Theater with many small gestures and gripping elements, such as the letter scene in the second act. The result was a touching and emotional production of this opera, which is unfortunately not shown very often. A production that placed the focus on Luisa and her fate, which was recognizable and inescapable from the start. Worth seeing!
Musically it could Osnabrück Theater with his new production of Verdi Luisa Miller score points across the board.
Theater Osnabrück/LUISA MILLER/Photo: Stephan Glagla
Tetiana Miyus was rightly and deservedly the center of the audience’s cheers. Her portrayal of the naively in love and later desperate Luisa Miller got under your skin. Vocally, she mastered this demanding role simply brilliantly! She played the beginning of the opera tenderly and reservedly, when the villagers brought her a birthday serenade, then very soulfully in the duet with her father and in the scenes with Rodolfo, and then thrilled the ensemble with her great vocal radiance. Simply: BRAVO!
Önay Köse as Luisa’s father is simply ideal casting. Vocally and acting excellent. With his powerful and warm-sounding bass-baritone he knew how to completely inspire the Osnabrück audience. What a great role debut! The scenes with him and his daughter Luisa (Tetiana Miyus) were the highlights of the evening.
The tenor Timothy Richards impressed with his very high pitch and well-produced voice in the role of Rodolfo. Deserved applause for his very soulfully sung aria “When the evenings are peaceful.” Ricardo Llamas Márquez portrayed a cunning worm who was absolutely subservient to the count and had a very convincing appearance, especially in the “letter scene” with Luisa.
Theater Osnabrück/LUISA MILLER/Photo: Stephan Glagla
Dominic Barberi gave Count Walter’s bass part a noble shine with his voice and was convincing in his acting as an emotional and calculating sovereign. Also very convincing Nana Dzidziguri as the Duchess of Ostheim, who made clear in her portrayal the inner conflict as Luisa’s rival and Rodolfo’s promised bride. In the other smaller parts of the opera were Jong Bae Bu as a farmer and Susanna Edelmann as Laura – who particularly made people sit up and take notice here – is adequately cast.
The Opera and extra choir of the Theater Osnabrück – well rehearsed by Sierd Quarre – was firmly integrated into the production in terms of singing and acting and was convincing across the board.
The Osnabrück Symphony Orchestra under the direction of the Osnabrück GMD Andreas Hotz played a fiery and enchanting Verdi. Already with the well-known overture, Hotz had his musicians play the overture’s motifs at a brisk, driving pace. He conducted the score with a lot of feeling, but also with the gripping drama where Verdi wanted it. Big applause at the end also for GMD Hotz and the symphony orchestra.
