There is no guarantee of love. Many know, but Rossini knows best. Although, for once, that is perhaps not the biggest problem in his farsa “L’occasione fa il ladro”, with which the Theater academy in the Prinzregententheater, musically brilliant and updated on points, thinks about the murderous question of who sleeps with whom. You are in love here everywhere, matches everywhere, only the constellations fluctuate. That’s what comes of relying on such an uncertain concept as identity.
Parmenione (swinging her hips sensual: Artur Garbas) poses as Alberto, which irritates him (with a noble nasal tenor: Jihoon Son). But women are not holding back either. Camilla Saba Davies, whose soprano, alternating between lyrical and furious moments, is trusted to do everything, transforms into Ernestina; before that it was still the role of the bubbly Franziska Weber. One shares the confusion of Uncle Eusebios (Caspar Krieger). The characters exchange their names at high speed. But not only that, in the genre-correct improvisations of the team under the direction of Saarbrücken theater director Bettina Bruinier, there are also foreign-language deviations, which does not make it easier to understand each other, but is very funny. And isn’t communication the most important thing in a relationship? Presumably yes, and presumably it was no less problematic in 1813 than in the Tinder generation.
In contrast, the contact between the Munich Radio Orchestra, conductor Patrick Hahn and the ensemble is completely unproblematic. Even with a syllable aria like Martinos (Isaac Tolley), who is supported in his Tiktok choreography by Philipp Moschitz. Here, as with all other Rossinian turbulences, Hahn maintains control without endangering the lightness of the moment. The end of the song: kisses on all sides and a cheering audience.