Opera & Drama Graz

The high arts in a witty competition

The acting ensemble also shines on the opera stage

(Bild: Barbara Palffy)

In terms of theater history, the ballet comedy "The Citizen as Nobleman" by Jean-Baptiste Lully and Molière presented by Schauspielhaus and Oper Graz is highly interesting. The entertainment value is also high if you can get your fill of unrestrained slapstick.

It is, so to speak, the original form of "Le Bourgeois gentilhomme" from 1670 that takes to the opera stage in Graz. Court composer Lully and court poet Molière combined their arts to entertain the Sun King and created a play that not only exposes the bourgeois upstart and cunning aristocrat, but also combines music, song, ballet and spoken theater.

It was only a dispute between the two court artists that led to the text and music being separated again, to the benefit of both, one would think from today's perspective. Bühnen Graz is honored by the plan to combine the strengths of its theatres for the first time since the association was founded. And these forces are truly impressive.

Baroque opulence in the music
The Graz Philharmonic Orchestra, under the direction of proven specialist Konrad Junghänel, can also play baroque music. Their excellent work is also more visible and audible thanks to their placement on the stage. And the conductor can even play along a little.

Orchestra, singing and dancing share the stage

(Bild: Barbara Palffy)

The ballet ensemble, choreographed by Louis Stiens, is once again a particular delight: Naomi Bethke, Nicolas Köhler, Isabel Edwards, Lorenzo Galdeman and Philipp Imbach, who also shines in several small roles, provide wonderful interludes. Rarely have we seen such devoted sheep.

The ensembles work well together
The singers and actors are also worth seeing and hearing. Anna Brull is once again in a class of her own; together with baritone Markus Butter and tenor Sebastian Monti, who has an ideal baroque timbre, they create touching moments. Franz Gürtelschmied, Euiyoung Peter Oh and Wilfried Zelinka are also well received.

Quirky slapstick ritual at the finale

(Bild: Barbara Palffy)

Tim Breyvogel as Monsieur Jourdan delivers a great show as a wannabe in all areas. Karola Niederhuber plays his wife as the voice of reason, Otiti Engelhardt as his daughter is stubbornness personified. Mario Lopatta is just as convincing as the hysterical lover as he is as the young emperor who only speaks Dornbirn dialect, Oliver Chomik as his cool friend, but also as the dashing fencing master. Franz Solar plays his two roles as the philosopher and Count Dorante with distinction, Luisa Schwab as the baroness with a heavy Styrian tongue and Luiza Monteiro as a smart maid with singing qualities round off an ensemble that is as playful as it is captivating.

Too much slapstick, too little depth
That leaves the leading team: director Matthias Rippert, set designer Fabian Liszt and costume designer Johanna Lackner. While the latter drifts from initial restraint into exuberant opulence, the elegant wood-paneled semicircle remains unchanged throughout the evening. This is where Rippert places his exuberant ideas. Everything is always just a little too much, too hysterical, too ludicrous. There is hardly any room for social criticism with so much racket. The reasons for the quick laughs are forgotten just as quickly, and the evening is simply too long to be entertaining. However, it is not a lost one thanks to the many fantastic actors.