Absolutely breathtaking, not least because I was so very close to the stage and was able to see all the details on the costumes and the mimics of the performers.

While I adore Máté Kamarás as Tod (1), Rob Fowler is better in my opinion. He seems less overtly sexual and passionate than Máté; still, his cool and aloof manner is compelling and he holds himself proudly. He's a little arrogant, prowling like a tiger -- he was in CATS and you see it: his movements are a dancer's -- controlled and poised.

Máté was a bit erratic in his movements, born rock-star -- this is Rob *after* at the curtain call, including victory signs and mischievous grins ;D -- and Máté's voice doesn't have Rob's steaddiness and fullness. Their voices have the same timbre, but Rob controls his at all times, even the highest notes are never off, never shrill. For me, he's *the* voice of Tod. It also doesn't hurt that he fills out his costume in the nicest possible way ;D.

Rob's Last Dance was incredible, I melted into my seat; this interpretation was better than Uwe Kroeger's as well -- Rob has the emotion I didn't see in Uwe and, more importantly, he has a voice to rival Uwe's. Rob had all that unapproachable confidence, but he also showed the meaner side of Tod (unlike Máté who seemed like a -scorned- *lover* throughout). I could see the scheming quality of Tod in Rob's portrayal, but also the genuine feelings he connected with Elisabeth. When she finally ran into his arms, he smiled (by then I was mush ;D).

What could I possibly say about Maya that hasn't been said? Precious little -- she *is brilliant* and perfect in the role. Every time I see her she captures me anew and she changes the role in increments every evening. She's always the same and always different. Gorgeous rendition of her songs with Tod, especially Wenn ich tanzen will. Rob was a little more careful climbing down the coach then Máté, but he certainly made up for it in Die Schatten werden laenger and the Mayerling Walzer, where he moved with a strong, potent grace. He treated adult-Rudolf like a rag doll, dragging him around, lifting him as if he were still a little boy, which I thought was very impressive.

I also liked the swish-and-flick of Tod's skirts at the end of the Mayerling Walzer, when he stepped away from Rudolf's body -- as if he were swishing away a fly. Kissing Rudolf was well timed with the gun, very well indeed. And kissing Elisabeth, let's say *sizzling* ;D. I'm also impressed by his good German pronunciation. It's only when he sings quickly you notice a bit of an accent, although his enunciation is always very clear.

Ich Gehoer Nur Mir in Maya's interpretation can never be dull, it's brimming with emotion and when she sits there on the raised floor, wiping her eyes... Maya's incredibly convincing -- it never fails to astonish me how she can manage the transition from a happy, free-spirited (and mischievously grinning and winking at Helene) fifteen-year-old to an old, bitter and lonely woman at the end of the musical. There's not a hitch in her performance, no flaw -- she is authentic at all times. Just so marvellous it's difficult to find words.

Rudolf was very good -- boyish (perhaps too boyish for a middle-aged man ;D), with a very nice voice. Wenn ich dein Spiegel waer was lovingly performed, I thought the fisting of his uniform jacket was a very nice touch -- halting, hesitant, and frightened. Again, I felt he was too young to convey the actual age of Rudolf (mid-30s), but that's not necessarily a bad thing. Few enough people calculate Rudolf's age from the references given in the songs ;D.

I wasn't particularly enamoured of Lucheni, his voice and interpretation were a tad edgy, but then I've been quite partial to Serkan Kaya. Ludovika was new -- Luzia Nistler -- she's a good singer with a solid stage presence and I particularly liked her in the first act, the "Bavarian scenes". She *relished* telling everyone her daughter Helene was going to be Empress ;D.

Lenneke Willemsen is my favourite Sophie -- she's strict, strong, and she carries the role across. Dennis Kozeluh and André Bauer both were very good. I particularly noticed the feeling André puts into his "courtship" this time. He's wonderfully convincing as a young Emperor, the older Franz Joseph gets, the more he needs to make an act of it and that, unfortunately, shows a little. still, I like his voice and interpretation a lot.

I didn't get a programme, sO I don't know about the new cast members (and there were a few). I did see Akós Tihanyi (ex-CAT) among the Todesengel(1) again, though.

(1) Tod = Death
(2) Todesengel = Angel(s) of Death

Cast List

Elisabeth (Empress of Austria) … Maya Hakvoort
Luigi Lucheni (Italian anarchist, Elisabeth's murderer) … ??
Death (Elisabeth's lover) ... Rob Fowler
Emperor Franz Joseph (Elisabeth's husband) … Bauer
Erzherzogin Sophie (Franz Joseph's mother, Elisabeth's mother-in-law) ... Lenneke Willemsen
Erzherzog Rudolf (Elisabeth's son) ... Fritz Schmidt
Rudolf as a boy ... ?
Herzog Max of Bavaria (Elisabeth's father) … Dennis Kozeluh
Herzogin Ludovika (Elisabeth's mother) ... Luzia Nistler