[Quite possibly a set-up one could be cuffed to: Marysol Schalit (Simplicius) in Hartmann’s “Simplicius Simplicissimus”, staged by Tatjana Gürbaca, Bremen 2017.]
My Musikfest Bremen contacts (haaa, Gauvin “Clemenza”, I will be there no matter the Sesto!) have kindly sent me the last issue of “foyer”, which (if I understand correctly) is a journal on art events in Northwestern Germany that is privately run and not property of some music industry outlet or other. It also seems to have good taste in choosing their cover images (full cover below, just because I can).
Schalit, a lyric soprano, has been with the Bremer Theater for a few seasons and is getting extra spotlight this season in this production of the unfortunately-all-to-up-to-date again (class wars and privileged abuse and their wrecking havoc on humanness, set in the religious wars of the Eurpean 17th century) “Simplicissimus” by Hartmann, a 20th centruy repertory margin entry that makes it into most bigger guides, but it not produced all that often. — In between the plot in our times and the white shirt, it is clearly an opera that should be done on a more regular basis.