With the spirit of Shakespeare and the drive of Purcell

This is nothing new, as England's most important Baroque composer used “A Midsummer Night's Dream” in his semi-opera The Fairy Queen. The music of Purcell, whose name appears in the program, is illustrated in works by Matthew Locke, John Dowland, John Eccles, Jeremiah Clarke, William Croft, and Robert Johnson. The text of the royal drama was greatly shortened, but central quotations such as “My Kingdom of the Horse” were preserved.

Researchers begin

The entertainment in this nearly three-hour show is largely due to the Bach Consort Vienna under the baton of Benjamin Pyle. These specialists in Baroque music ensure real drive, right from the brisk opening with a score by John Locke.

Then comes Richard, actually you should say Richards. Because Sokolova has the monster portrayed by actor Soren Kneidel, dancer Fabian Tobias Hoster and singer Christoph Feller.

The fact that the last one of all people got laryngitis but still played along with mouth and nose protection is not an issue in this production. Substitute Timothy Connor sings from the side stage with his expressive baritone, turning the trio into a quartet.

The Richards act wonderfully together on the Nicholas Webern stage, outfitted with only a few shimmering curtains and wooden brackets. The game is transferred from one person to another in smooth transitions, like a perfectly coordinated relay team.

Overall, this committed young ensemble dressed in quasi-historical costumes (Constanza Mesa-Lupihandia) acts and sings with verve. Soprano Louise Kemeny dazzles with her colors as Lady Anne, and she also portrays other characters. Tenor Johannes Bamberger impresses with his noble timbre in several roles. Martina Neubauer is also convincing vocally as Richard's assertive mother and Antoine Amario is more than impressive with his baritone voice. This is how musical theater works, and it has been widely acclaimed. Susan Zobel