|Stage Direction | Lighting Design||Sebastian Ritschel|
|Musical Director||Mark Rohde|
|Set Design | Costume Design||Heike Mirbach|
|Choreography||Dan Pelleg, Marko E. Weigert|
|Premiere||14.05.2011 | GHT Görlitz-Zittau|
|Violetta Valéry||Antje Bitterlich|
|Alfredo Germont||Max An|
|Giorgio Germont||Tim Stolte | Shin Taniguchi|
|Flora Bervoix||Patricia Bänsch|
|Annina||Audrey Larose Zicat|
|Gastone||Egill Arni Palsson | Tommaso Randazzo|
|Barone Douphol||Won Jang|
|Marchese d'Obigny||Hans-Peter Struppe|
|Dottore Grenvil||Stefan Bley|
|Giuseppe | Commissario||Keon Lee|
|Chor des GHT Görlitz-Zittau|
|Neue Lausitzer Philharmonie|
Trailer | Trailer | La Traviata
Boris Michael Gruhl – DNN, 13. Mai 2011:
Sebastian Ritschel stages LA TRAVIATA.
[...] Ritschel's work proves that his particular interest lays in aesthetics of images and that fidelity to detail need not to be the absolute opposite to emotion, but that the singer is now and then lost without the protective measure of scenic precision. On the opera stage nothing is more harmful than randomness. Actually, any opera performance should be a crucial experience for the viewer.
And so, each new production of such a well-known work as La Traviata, especially nowadays, sets the director the task to escape the stereotype and, most importantly, to forget how often and in particular how one has already seen and heard the opera.
Peter Stosiek - Sächsische Zeitung, 26. Mai 2011:
Powerful and perfect!
[...] Everything fits perfectly together in this evening, the marvellous choir, the surreal choreography, the masterful music. The stage direction worked for the opera with a powerful sign language from impressive dynamic group images to tunnel and light phenomenons. The enthusiasm of the audience grew from image to image and finally ended in bravos.
Gabriele Gorgas - Sächsische Zeitung, 16. Mai 2011:
Free like a bird!
[...] The Theatre Görlitz managed once more to measure up to the expectations of a friendly but not uncritical audience. [...] Sensational choral scenes and everything outshining light accents. [...] Highly internalized occurrences on stage, alternating between intimacy and the insincere mob. [...] This sparse room with its vanishing point and these curtains, covering existential needs and later torn down, tells the story of love and death, humiliation and forgiveness.