Der Barbier von Sevilla

In the organizer's words:

Figaro is not only the barber, but also a life coach, matchmaker and information center of Seville. At least that's how he presents himself to us, but what we experience in Rossini's opera casts doubt on this self-characterization: his strategies for how the amorous Count Almaviva can get in touch with Rosina, who is jealously guarded by her guardian, fail right from the start - and when Figaro intervenes himself, things only get worse. Good conditions for a turbulent comedy, which director Nicola Hümpel enhances with two live cameras: The production shows us a group of egotists who try to manipulate each other. In their desire to always present themselves in the best light, they compete for the most favorable positions in front of the cameras, which mercilessly magnify every derailed facial expression and every hidden tenseness.
What the director does with the visual focus, Gioachino Rossini's music does with time: it sometimes focuses on the blink of an eye and sometimes on a long period of time. An emotional crisis is transformed into a brief thunderstorm, a moment of shock into an extended catastrophe. Not to like this music: risky!