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The magic cure is Love München
Gärtnerplatz Theater
07/03/2025 - & July 6*, 13, 14, 2025
Georges Bizet: Doktor Mirakel
Mina Yu (Laurette), Jeremy Boulton (Le Podestat de Padoue), Anna Tetruashvili (Véronique), Jacob Romero Kressin (Capitaine Silvio)
Orchester des Staatstheaters am Gärtnerplatz, Peter Foggitt (conductor)
Florian Hackspiel (stage director), Rainer Sinell (sets & costumes), Peter Hörtner (lights), Karin Bohnert (dramaturgy)
J. Boulton, M. Yu, A. Tetruashvili (© Anna Schnauss)
Based on the play Saint Patrick’s Day by Anglo‑Irish playwright Richard Sheridan (1751‑1816), Le Docteur Miracle (1857) was a competition entry and co‑winner submitted by a nineteen-year-old Georges Bizet (1838‑1875). The organizer of the competition was none other than Jacques Offenbach (1819‑1880), then in search of new works for his Théâtre des Bouffes‑Parisiens.
The simple plot revolves around the Mayor of Padua whose daughter Laurette is in love with Silvio, an officer. The Mayor has a deep aversion for the military and forbids his daughter from seeing the young soldier. The enterprising Silvio disguises himself as Pasquin, a butler sent by a friend of the mayor’s to help in housework. When he cites his qualities to his future employer, he emphasizes his physical strength and aversion to the military, which qualifies him for the job. The mayor intends to use Pasquin to ward off Silvio.
In the operetta’s most famous excerpt, the “omelette quartet,” the mayor asks Pasquin to prepare an egg dish. In the present German version, the delectable quartet becomes “das Kuchenquartett” (“the cake quartet”) or “Voilà Ihr Kuchen!,” confirming the notorious German sweet tooth. Initially tasty, the cake is found to be rotten, and the mayor, his wife and daughter cry in pain from stomach aches. The mayor and his wife proceed to the bathroom to deal with their gastric problem, leaving Laurette under Pasquin’s strict guard. The latter reveals his true identity and starts kissing the mayor’s daughter. Caught in flagrante by the mayor, Pasquin/Silvio, the fake butler, is kicked out.
A letter arrives from Pasquin/Silvio informing the mayor the cake was poisoned. Laurette assures her father the excellent Docteur Miracle can cure them. The mayor promises to give him anything in return for an antidote. The doctor, Silvio in disguise again, demands a huge sum or his daughter’s hand. The miserly mayor opts for the latter option, only to discover that the doctor is none other than Silvio. He graciously accepts being outwitted and the four sing a happy quartet extolling the doctor’s cure‑all, love!
Bizet’s music is unfailingly melodious, bearing a distinct style, not a mere imitation of Offenbach or Auber. The four singers were all strong, but only parts written for the young lovers are demanding. South Korean soprano Mina Yu impressed with her tessitura and easy high notes. Her timbre was sweet, and her German, more than capable.
Tenor Jacob Romero Kressin is the grandson of legendary guitarist Pepe Romero, which might explain his great talent. Endowed with good looks, stage presence and most importantly a powerful voice, he will surely soon embark on a major career. He sang a bit too forte for this role; bel canto requires sweetness more than volume.
The mayor and his wife acquitted themselves well in the little singing demanded of them. Australian baritone Jeremy Boulton impressed with his natural comic gifts. Wisely forgoing histrionics, he portrayed a sympathetic, pompous and somewhat foolish mayor.
British conductor Peter Foggitt led the Orchester des Staatstheaters am Gärtnerplatz with panache. He avoided overly quick tempi, understanding that it doesn’t enhance comedy. He also proved himself an excellent singer’s conductor, supporting them by adapting tempi and leading his orchestra like a chamber ensemble.
The short opera lasted just over an hour. Given the melodious tunes and great fun, one wished it were longer. More opera houses should present such fare in double‑bills with other short comedies, for example a short Donizetti opera. Il campanello (1836) or the French opera Rita, ou le Mari battu (1841) would make excellent pairings.
Ossama el Naggar
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