Georges Bizet

Stage Direction | Lighting Design Sebastian Ritschel
Musical Director Lancelot Fuhry | Mark Rohde
Set Design | Costume Design Martin Rupprecht
Choreography Dan Pelleg, Marko E. Weigert
Dramaturgy Ronny Scholz
Choir Manuel Pujol
Premiere 27.03.2010 | Theater Görlitz


Carmen Patricia Bänsch
Don José Marc Haffner
Escamillo Shin Taniguchi | Tim Stolte
Micaëla Yvonne Reich
Frasquita Laura Scherwitzl
Mercédès Carsten Arbel
Dancaïro Robert Rosenkranz
Remendado Tommaso Randazzo
Lillas Pastia Hans-Peter Struppe
  Simone Döring, Steffi Sembdner, Jan Hodes, William McQueen
  Chor und Kinderchor des Theater Görlitz
  Neue Lausitzer Philharmonie

Trailer | Trailer


Jost Schmidtchen - Sächsische Zeitung

Splendid top performance

The performance virtually bursts the bounds of traditional theatre art that could be seen in the Hoyerswerda “Lausitzhalle” before now. Rarely is the viewer fascinated from the first until the last tone of such a sophisticated and blazing sensuality. [....]

The whole thing is underlined by an elaborate stage design with a concept between history and modern age you would normally not come up with.  The effects (concerning light and the dramatic composition) it results in have been sensational. In addition the actors behind the masks have been very expressive and defined by the choir, an extra-choir and a children’s choir. The masks are the final touch of the play and give the stage actions a new, unforeseen perfection, which expires in the final scene after Carmen dies on a mask in front of a child’s face in the fading light just like the life of the gypsy woman.

This Carmen version is not only the best opera production in the season which has come to an end; it was also one of the best operas staged in the Lausitzhalle for years. It is an unmatched, splendid top performance. Nothing can be compared to it. My deepest respect to the company and the Görlitz theatre.


Boris Michael Gruhl – DNN

A cage full of dreams- Bizet’s "Carmen" fascinates in the form of a comedy of cruelty in Görlitz

[...] For Don José it is the dream under his own delusions. [...] He has outspent himself in the previous three acts, which have both rapidly and hilariously been heading for the climax of misunderstanding so that only a short circuit can put an end to it. [...]

Sebastian Ritschel has directed a both ghoulish and hilarious dance of death with music by Georges Bizet, skilfully he combines stereotypes with masks. He also lets the mainly rigidly painted grimaces of typecasted people disappear behind masks or bull heads. Together with the choreographer Dan Pelleg of the Berlin WEE DANCE COMPANY the ensemble has a moving frame inspired by music and the situation, including individuality but above all banishing usual gestures and stereotypical sensitivities. [...]

Such a directorial framework, however, only makes it possible that the greatly musically stretched ensemble  to the necessary extent such as the one of the “Neue Lausitzer Philharmonie”, “the masses” who are part of the choir, the extra choir and the children’s choir [...] facinate in the end with a complete performance. [...]


Jens-Daniel Schubert - Sächsische Zeitung

The passionate woman as a mirage

Sebastian Ritschel directed Bizet`s opera "Carmen" in Görlitz. His fascinating interpretation had its acclaimed premiere on Saturday in Görlitz. [...]

Director Sebastian Ritschel, designer Martin Rupprecht and choreographer Dan Pelleg have brought the thrilling story with both expressive and atmospheric images on stage. A two-storey construction on a red revolving stage turns into a cigarette factory and the animation stage of Lillas Pastia’s Inn. The construction can also turn into a smugglers’ rock and into the bleachers of the bullring. The construction is concrete and at the same time abstract, under various light conditions it becomes an atmospheric venue.

Ritschel accurately directs the characters; he examines their relations, concentrates on the characters’ psychology and does not let himself be captivated by triviality and folkloristic ingredients.

An acrobatic dance group illustrates tensions and motivations. Masks and clear colours create distance and elevation. The songs of the choir are exaggerated, the movements conventionalised. The high level of precision the choir and the extra choir perform with results in impressive images. [...]

Thus the evening becomes a pleasant experience. That is why the Görlitz audience celebrates its Carmen, even thoughshe is not a passionate and spirited gypsy woman who plays castanets.


Christa Vogel - Sächsische Zeitung

A version of our time

[...] The version and its implementation are of fascinating clarity. The version’s view of the opera "Carmen", which was premiered in 1875 in Paris, is new; it is a view of our time. Out of the dark of the stage appears a revolving double stage. Light and other technical effects turn it into a cigarette factory with mask-like anonymous female workers, into an animation stage or even into a bullring. What is happening on stage is good, Carmen experts call it abstract and it creates atmospheric images.
Right in the middle of it is the gypsy woman, who seems cold and distant, on the spot. Carmen, fascinatingly different- the mezzo-soprano Patricia Bänsch in her best role. [...]

Great images elevate great scenes and make the viewer think about the imagery of stubborn animal masks. A dance group dramatises tensions. […]

Red-black colorfulness creates a flowing line management by means of choreography.  The choir, which is in motion, enriches the play; good soloist performances make you enjoy the familiarity. Long applause shows the appreciation for the quality and aesthetic experience.