
Csar and Carpenter
Deutsche Oper Berlin
Albert Lortzing [1801 – 1851]
Conductor Antonello Manacorda and director Martin G. Berger have now set about showcasing these qualities inherent to Lortzing’s masterpiece at the Deutsche Oper Berlin. In his capacity as long-standing Principal Conductor of the Kammerakademie Potsdam, Manacorda brings to the task his experience of staging period pieces and his knack of timing in Rossini’s comic operas. Berlin director Martin G. Berger, for his part, has made a recent name for himself as one of the most accomplished cross-over practitioners between the opera, operetta and musical genres – often tweaking dialogues himself to add a fresh, modern touch – skills that will doubtless benefit CSAR AND CARPENTER too.
Spotlight
Nadja Mchantaf is a known quantity to Berlin opera fans. Over the last nine years she has become one of the brightest stars in the firmament of the Komische Oper, where she has sung some of the great roles of the lyric soprano fach ranging from Mozart’s heroines to Debussy’s Mélisande and Puccini’s Musetta and Mimì. Quite apart from her voice, her agility as a performer will have raised her game even more: alongside her training as a singer Mchantaf pursued a successful career as a competitive ballroom dancer, with a sideline in classical en pointe ballet as evinced in her debut at the Behrenstrasse opera house as Massenet’s eponymous heroine, Cendrillon. And who can say that this skill set is not also standing her in good stead for the clog dance in CSAR AND CARPENTER?
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