DRAMATURGYJulia Hochstenbach
CHOIRAnna Toller
LIGHTRalf Kabrhel
ORCHESTRAPhilharmonisches Orchester Heidelberg
EXTRASTheater und Orchester Heidelberg
WITH:Irina Simmes
Rinnat Moriah
Jesus Garcia
James Homann
Ipca Ramanovic
Jana Krauße
Irida Herri
Sang-Hoon Lee
Young-O Na
Ipca Ramanovic
David Otto
Michael Zahn
Amélie Saadia
Zachary Wilson
Photos: Annemone Taake

“That the Heidelberg production of Giuseppe Verdi’s opera La traviata would be unusual was already evident from the overture. (…) Director Eva-Maria Höckmayr succeeded in a brilliant move by doubling the stage: another curtain opened and the actors bowed to an audience sitting on stage. The fiction was broken, the illusion taken away (…).

The overall conception of the opera pursued precisely this goal of stimulating reflection. (…) The director multiplied the interpersonal tension, made the conflict between inside and outside scenically tangible and in turn combined means of modern dramaturgy with music of a past era, which thus became unexpectedly topical. (…) The conflict between classical and modern means was combined with the conflict between self and society to form an aesthetic whole. Exciting and full of tensions, this production thus poses a question: what is the relationship between individuality and society today?”

Bachtrack, Christine Roth 26.1.15

“Here, for once, the focus is not on Violetta’s perspective, as is the case in most other productions of the work, but on that of Alfredo/Dumas. (…) Eva-Maria Höckmayr deals forcefully and succinctly with the egomaniac Dumas, whose true aims she pursues with the book and the play. In doing so, she proceeds with great technical skill. She has always been a master when it comes to exciting, sophisticated character direction. Her brilliantly realized ‘Traviata’ is truly no exception. She is a director who knows her craft very well. This proves itself not least here again in her excellent handling of different, parallel plot levels. (…) Here we have one of the best realizations of the work in recent times.”

Opera Lover, Ludwig Steinbach 13.10.14

“Höckmayr has Alfredo, as it were, accompany the scene permanently as his own director and comment on his performance. The characters are also mirrored in their ambiguity, for example when Violetta appears in parallel in both an attractive red ball gown and the pale undergarment of impoverishment and the death camp. Thus Alfredo’s feelings are further confused. Father Giorgio Germont is also shown in his dual nature; while he rambles something about God, family, and honor to the cornered Violetta, a family despot is shown in the background oppressing everyone.”

Opernnetz, Eckhard Britsch 12.10.14