Wednesday, 28 March 2012
Parsifal. DVD. Berlin State Opera 1992. Prod: Harry Kupfer. Conductor: Daniel Barenboim. Cast: Poul Elming (Parsifal), Waltraud Meier (Kundry), John Tomlinson (Gurnemanz), Günter von Kannen (Klingsor), Falk Struckmann (Amfortas), Fritz Hübner (Titurel).
With 20 years delay, finally we now have the 1992 Berlin State Opera production of Parsifal, quite simply the best presentation to date of Parsifal on DVD.
Harry Kupfer, at this time artistic director of Komische Oper, the smallest of the three opera houses in Berlin had no real possibility of staging Wagner in his own house, thus the collaboration with Daniel Barenboim, the newly appointed musical director at the Berliner Staatsoper, 200 meter further down the Unter den Linden.
This was Harry Kupfer´s second attempt at Parsifal, the first dating from the 1970´s also at the Berlin State Opera, which could be seen at the Copenhagen Royal Opera House as well until a few years ago (I saw it at least twice). In that first production, Parsifal renounces the brotherhood chooses to leave the community with Gurnemanz and Kundry taking the spear and the grail with him, which was at the time seen as a politically charged criticism.
However, for this, his second Parsifal, after the fall of the Berlin Wall, things looked different, for Parsifal as well. In a semi-mythical, futuristic setting, circular door reminiscent of spaceships separate the inside and the outside - both pitch dark, with metallic and electronic cold surfaces. The grail community is a sick community: Characterized by a strong bond, the knights seem fixated on the Grail, oblivious to anything else.
involved stage direction. The flower maidens show their various body parts on TV screens, only Kundry, is a real, three-dimensional woman. In the end, the knights are oblivious to Parsifal, focusing only on the Grail. Kundry takes his hand as if urging him to leave, but after a moment of reflection Parsifal choses to stay with her and Gurnemanz.
And why exactly does this work? Because of the combination of Harry Kupfer´s excellent direction of the singers (his trademark), the aesthetic stage designs (by Hans Schavernoch), Barenboim´s superb reading of the score and some of the best singers of the generation.
The singers are what Kupfer wants: Young, agile singer-actors, all in their vocal prime, most having already worked with Barenboim/Kupfer in their just terminated Bayreuth Nibelungen Ring, also the best Nibelungen Ring on DVD. The static nature of Parsifal simply needs involved personal stage direction to work dramatically. As well as singers, who master their parts, obviously.
Is Waltraud Meier the best Kundry in history? Honestly, I think she may well be. Here, stunningly beautiful in her vocal prime (36 years old), already with 10 years experience in the part, her dramatic commitment and effortless vocal flexibility is unparallelled. This is her third Kundry on DVD, with the Metropolitan Parsifal recorded the same year, but leaving her with fewer dramatic options.
Poul Elming, the Danish tenor, who started out as a baryton and got his international breakthrough when Daniel Barenboim selected him as his Siegmund in the Bayreuth Nibelungen Ring, is a committed and entirely believable Parsifal. He also appears on the recently released 1998 Bayreuth production conducted by Sinopoli. John Tomlinson, in his vocal prime, a charismatic Gurnemanz, who tells his stories so you want to listen to them. A young Falk Struckmann is a fine, though already at this point slightly grainy Amfortas, while the Nibelungen Günter von Kannen makes a fine Klingsor.
While Christian Thielemann has the glitzy brilliance, Daniel Barenboim the weightier punch, which is ultimately the most satisfying approach. He quite simply understands the structure of Richard Wagners compositions, better than he understands the structure of anything else I have ever heard him conduct (which is, in fact, a lot).
An easy first choice on DVD.
Act III, Mittag:
The bottom line (scale of 1-5, 3=average):
Poul Elming: 4-5
Waltraud Meier: 5
John Tomlinson: 5
Günter von Kannen: 4-5
Falk Struckmann: 4
Harry Kupfers production: 5
Daniel Barenboim: 5
Overall impression: 5
Thursday, 22 March 2012
This production marked the ending of Kasper Holten and Michael Schønwandt´s 11-year tenure as artistic resp. music director at the Royal Danish Opera when it opened last Spring. And considering the massive problems with budget cuts which recently led to the resignation of newly appointed artistic director Keith Warner and music director Jakub Hrusa (neither has been replaced yet), Holten and Schønwandt certainly chose the right moment to leave. Especially Kasper Holten, who moved to the London Royal Opera House.
In any case, Kasper Holten certainly ended his tenure with perhaps his best production to date: A visually arresting production, with ample use of video projections tells the story of the two couples, who cannot have children, in a relatively straightforward manner. Entertained from start to end, a major feature is the vertical division of the stage into several chambers, thus showing several pieces of action simultaneously. A concept also used to great effect by Dmitri Tcherniakov in his Munich staging of Khovanschchina. With video projections helping to establish the moods: A tear, a sleeping pill dissolved in a glass of water etc. There is hardly a dull moment in this production, a great relief after having seen Christof Loy´s immensely boring production in Salzburg last summer.
The orchestra received rave reviews last year with Michael Schønwandt. Now, the conductor is Michael Boder, and yes, the orchestra plays well, and nuanced but with Christian Thielemanns mightly Vienna Philharmonics very present in memory it is hard to give them 5-stars. That said, Boder seems to have difficulty grasping the overall structure of the piece.
As for the singers, Johan Reuter is simply the best Barak I have ever heard with a wonderful warm voice, and such a welcome change to have a singer in his prime for this part. Equally a strong turnout for Linda Watson, who still has a very beautiful middle register, which is where most of her part lies. In comparison with her, Susanne Resmark seemed somewhat bleak. Marion Amman, a late substitution for Ann Petersen, was no more memorable than her husband.
A production very well suited for DVD release.
The bottom line (scale of 1-5, 3=average):
Johnny Van Hal: 2
Marion Ammann: 2
Johan Reuter: 5
Susanne Resmark: 3
Linda Watson: 4
Linda Watson: 4
Michael Boder: 3-4
Kasper Holtens staging: 4
Kasper Holtens staging: 4
Overall impression: 4
Friday, 16 March 2012
Overview and general commentsFura dels Baus is a Catalan theatre group founded 1979 in Barcelona working with contemporary theatre, opera as well as major events such as the opening ceremony for the 1992 Barcelona Olympic Games. In opera Fura del Baus stagings are renowned primarily for their abstract stylistic settings, where 3D computer animations play a major role.
When Zubin Mehta (then music director at the Bavarian State Opera and in the middle of a Ring Cycle there), was approached in 2002 regarding a Ring Cycle in Valencia, he initially hesitated, thinking he´d done too many already, but then said that if Fura del Baus would stage it, he´d come. Subsequently, Carlus Padrissa, the stage director for this production (one of six stage directors as well as one of the founding members of Fura del Baus) went to Munich, saw his first Ring Cycle with Zubin Mehta, took notes and went home to think and develop his own vision.
The result, the first complete Ring Cycle ever in Spain (according to Padrissa) opened between 2007-9, a coproduction between the new opera house in Valencia and Maggio Musicale Fiorentino (musical festival in Florence, Italy).
The main idea behind Fura del Baus´ staging of the Nibelungen Ring is to show "the degradation of nature by technological man". Carlus Padrissa meticulously followed all Wagner´s original stage directions with "greater freedom and adapting it to our own aesthetics" while at the same time “going back to the spirit of Wagner, to the original mysticism and symbolism”.
The two trademarks of Fura dels Baus´s Ring Cycle is the video projections and the use of stage acrobats and may best be described as a mix of The Lord of the Rings (the movie), Star Wars and street theatre. Simultaneous with the theatre performances, another spectacle with HD projections and acrobats took place outside/on the Palaus des Les Arts Reina Sofia, which is designed by Calatrava.
Franc Aleu´s stunning video projections are the central element and the key to the entire staging, creating "beings of light", music and light. This is the most effort Fura del Baus ever put into video projections, reaching 3500 pixels (3 times HD quality) for some of the images and resulting in some of the most stunning images ever projected onto an opera stage, ranging from National Geographic-like land shapes to projections of the entire earth mixed with plenty images of the human body (with the intention of showing the degeneration of the human race perhaps?) as well as more abstract projections.Traditional sets were generally not used and often the images were projected on/behind the naked stage with ample use of mirrors.
The Fura dels Baus actor-acrobats represent such different entities as: Valhalla, dead heroes, wood beings, Brünnhildes bed pillar, a bear, river grass, Brünnhildes bed-cover when conquered by Gunther/Siegfried with the Tarnhelm. The substance of the living world perhaps?
The street theatre elements come forward in the characterisation and the costumes (by Chu Uroz), which are exaggerated in an almost cartoon-like way, unfortunately making several key characters looks like Anna Russell imitations: The Wälsungs, including Siegfried in tribal costumes including bone fragments, the Gibichungen with dollar-signs on their jacket and oriental-looking face paint. Furthermore, the Gods are locked up into cranes, manipulated by stage extras, 3-4 meters above stage,
Thus Fura dels Baus present straight-forward storytelling using contemporary imagery. They work on the grand level, and though the singers have clearly been directed they cannot help loosing out on the interpersonal relations. However, the production is quite possibly more impressive on DVD, with the many close-ups, than in the theatre and perhaps even more so on blu-ray.
On the musical level, Zubin Mehta has done impressive work with the young orchestra, hitherto untested in the Wagnerian repertoire. Though his reading does seem monotonous at times, and more than occasionally he loses the momentum by simply playing too slow. As for the competing DVDs he does not reach the level of the Bayreuth Orchesta (with Pierre Boulez, or even better with Daniel Barenboim), the Metropolitan Orchestra under James Levine or the Royal Danish Orchestra with Michael Schønwandt.
The straightforward storytelling combined with the stunning imagery and an overall acceptable musical quality may make this a first choice for some. In any case, it is an important interpretation, which those with specific interest in Richard Wagner should see.
As a “concept”, this is not entirely unlike Harry Kupfers Berlin/Barcelona Ring, also focusing on degradation of nature, though with a freer interpretation of the original stage directions.
Personally, this release does not change my overall recommendation of Harry Kupfer´s first Bayreuth Ring Cycle with Daniel Barenboim or Patrice Chéreau/Pierre Boulez Ring, also from Bayreuth as first choice. The Audi Amsterdam Ring is astonishingly beautiful, but suffers much the same casting problems as Harry Kupfers Barcelona Ring. For a pure traditional approach, the Metropolitan Opera Schenk/Levine Ring is the only one on the market. For contemporary Regietheater, The Copenhagen Ring is definitely worth watching, as is the Stuttgart Ring. A complete overview the commercially available Nibelungen Ring DVDs may be found here.
The individual operas - Rheingold
The Gods are locked onto moving platforms 3-4 meters above stage (levelling with the Giants). The earth is the backdrop, while John Daszaks superb Loge flutters around on a moto, as restless as his music.
The spectacular descent into Nibelheim is literally a descent into the middle of the earth, where the cloning of the Golden eggs into small golden fetuses and finally humans becomes obvious. Is this then the beginning of the degradation of manhood – are these clones made by Alberich the future inhabitants of the human world, as seen in Götterdämmerung?
Among the very few visual disappointments are Alberichs transformations – the dragon created by a living chain of acrobat-actors and the frog a simple steel device – no projections here. Also the shock-effect of Erda´s appearance somehow seems to drown in all this imagery.
Some may find that all these video projections, especially in Siegfried and Götterdämmerung but also here in Rheingold tend to draw too much attention to themselves at the expense of the music. I don´t agree and generally find the projections to underline the course of action or simply provide spectacular entertainment.
The Rhinemaidens with the Rhinegold:
The individual operas - WalküreA beautiful projection of the World Ash, with its ever changing colours (and Wotan´s lurking ravens) provide the backdrop for Hunding´s home, here a circle of bones on the naked stage. Costumes are mainly made by fur, bones and tribal paintings and the picture is completed by plenty of feral crawling as Hunding has Sieglinde tied to a rope and drags her along like a dog.
According to Carlus Padrissa Hunding is a Cro-Magnon and the Wälsungs are homo sapiens - this is why Hunding cannot make Sieglinde pregnant, while her brother, another homo sapiens, easily can. Not a bad explanation at all, in fact. The setting is 50.000 BC. While proving the point, all this feral crawling and exaggerated, downright unflattering costumes unfortunately also significantly limits the human drama, the real cornerstone of Act 1 Walküre. And despite some chemistry between Peter Seiffert and Petra Maria Schnitzer (a married couple), and a convincingly Cro-Magnon version of Matti Salminen, the Act I never really takes off.
Equally, locked to their cranes within a circle of stars, true interaction between the Gods prove too difficult, despite splendid singing from Anna Larsson´s Fricka. Later, descended from the crane, during his big monologue, it becomes clear that Juha Uusitalo simply lacks star-quality, despite rather fine singing. Not to mention Jennifer Wilsons appallingly apathic and passive Brünnhilde, a real shame as she has a very fine voice with a brilliant top, of a quality seldom to be heard in this repertoire. Admittedly she is not helped by Chu Uroz´ costumes including a ridiculously looking harness which makes her look even bigger than she already is, resembling an Anna Russell caricature. However, this is an entirely intentional effect, as Chu Uroz intended these costume as a tribute to the "large woman" of the 19th Centure, the "demi-goddesses".
The Valkyries sing and act well, though again, the suspension on cranes at times impedes dramatic interaction. Though even when descended from the cranes, as Wotan and Brünnhilde ultimately do in Act 3, it is clear that dramatic interactions are the weak point of this cycle despite the scene being played on a stunning background of the projected earth. When the emotional interaction during "leb wohl" is missing, something is not quite right.
The Ash overlooking Hunding´s circle of bones:
The individual operas - Siegfried
Perhaps the most successful of the four operas as the wide spaces decreed perfectly suits Fura del Baus´ video projections.
We travel deep inside the earth to arrive in Mime´s high-tech smithy. Retrospective video projections accompany much of the action such as the Wanderer´s questioning of Mime (and vice versa) and we see how Siegfried has to completely destroy the sword to forge it anew.
In a stunningly beautiful Act 2, the ever-changing background incorporates cartoon elements with actor-acrobats representing various forest animals as well as carrying the string of white boxes, representing Fafner.
Perhaps one of the musical highlights of the entire cycle, Wotan´s call for Erda in Act 3 is accompanied by stunning National Geographic mountain videography with Erda herself appearing from the centre of the earth (here: India). Equally Siegfrieds passing through the fire is spectacular, again demonstrating in the closing scene between Siegfried and Brünnhilde than the one-to-one interactions is the weak point of this cycle, despite some fine acting and nuanced singing from Lance Ryan´s Siegfried. Thus, this is a statement with modifications as always, as Gerhard Siegel (Mime) seems fully capable of inhabiting the stage.
Mime tries to reforge Nothung:
Outside Fafner´s cave:
Wotan calls for Erda:
Siegfried and Brünnhilde:
The individual operas - Götterdämmerung
The Gibichungen world is cruel and grim. Fura del Baus suggests we could be in a major city such as Shanghai, accentuated by the Chinese-looking face paint of the Gibichungens, here seen as grotesque stock brokers with dollar signs attached to their clothes and stock exchanges rates projected on the screen. A grotesque, superficial world of extremely bad taste, where Gutrune runs on a tread-mill within a cylinder suspended in air. The contrast to the Siegfrieds prehistoric costumes is fully intended and his transformation from a caveman into stockbroker after getting drunk is champagne shows impressive acting from Lance Ryan. However, though dressed like the others, Siegfried never learns how to act in this world, which eventually becomes his downfall.
Understatement is not a trademark of this Ring, where especially Götterdämmerung at times seem over-exaggerated. Though definititely not without it´s moments, such as a second act staged like a thriller complete with snipers and a searching eye. Also Siegfrieds Funeral March is a highlight, with Siegfried´s body being moved from stage, through the audience.
Jennifer Wilson´s apathy is again a serious drawback, and even Matti Salminen´s Hagen is more mobster-calculating than evil, though Lance Ryan´s Siegfried transformation is quite impressive and generally he fares better in Götterdämmerung than in Siegfried.
As Fura del Baus closely follows Richard Wagners stage directions, the Ring is given back in the end and the net of acrobat-actors symbolizing Valhalla is dispersed. Though inventive, I couldn´t help finding the ending a bit disappointing, perhaps expectations were raised too high based on the preceding imagery.
A list of some of the most respected Wagner singers of today (eg. Matti Salminen, Stephen Milling, Peter Seiffert etc) combined with relative newcomers such as Lance Ryan and Jennifer Wilson.
The individual singers:
Wotan: Juha Uusitalo, a bass-barytone, generally sings well, though without leaving a truly individual mark. Essentially he lacks the energy, seen with John Tomlinson (for Barenboim) or the class of James Morris (only as Wanderer, though). And, as a bass-barytone, as opposed to a bass Wotan, the deep resonant voice for the Wanderer he simply does not have.
Fricka: Anna Larsson with the wonderfully deep expressive voice is perhaps the best Fricka on DVD, with an impressive combination of royalty, class and vulnerability showing that Fricka is far from the mono-dimensional character often seen.
Alberich: Franz-Josef Kapellmann has more stage presence than voice at this point of his career. And in this, his second Alberich on DVD, he more than occasionally relying on yelling and exclamation, clearly past his prime, but still to be reckoned with.
Loge: Strong performance, vocally as well as dramatically from John Daszak.
Fasolt: Matti Salminen (see below), ages well vocally, but has lost quite a lot of his strength and is no match for Stephen Milling.
Fafner: A superb Stephen Milling, whom they really should have hired as Hagen and Hunding, which may be verified by watching the Copenhagen Ring, where he plays Fasolt and Hunding.
Mime: Gerhard Siegel commands the stage and delivers a vocally satisfying performance as well.
Sieglinde: A convincing, though not exceptional performance from Petra Maria Schnitzer, who is not helped by either costume designer or director with her cave-like appearance and manners.
Siegmund: Peter Seiffert fails to make a lasting impression in this role and though he sings the notes, his acting skills leave a lot to be desired. We are a long way from the intensity of Peter Hofmann/Jeannine Altmeyer.
Hunding: The Cro-Magnon outfit quite suits Matti Salminen, though he, in his 60s, has lost the sonorous, menacing profound tones. This is his second Hunding on DVD.
Hagen: Matti Salminen´s voice ages well, being steady and almost vibratoless. Nevertheless, in this his third Hagen on DVD, he does not live up to his past attempts and despite an ever strong stage presence he more often than not resorts to barking and yelling without earlier times punch and power. Stephen Milling would have been a better choice.
Brünnhilde: It is very frustrating to watch and listen to Jennifer Wilson: Vocally she has got the goods, with a beautiful voice high above average for this part being both solid and with a shining top. Unfortunately, she severely lacks in dramatic expression, both vocally and acting-wise, which ultimately makes her Brünnhilde one of the major disappointments. Not too mention she is a large woman, who simply does not move well on stage.
Siegfried: Lance Ryan is as good a Siegfried as anyone today: He looks the part and after some indifferent acting especially in the first two acts of Siegfried, he becomes quite interesting to watch after his transformation in Götterdämmerung. Vocally, his is perhaps not the biggest voice, but he is solid throughout, though not without a certain monotony and dryness. However, he is capable of producing some finely nuanced singing, especially in Siegfried Act III and Götterdämmurung Act I after his transformation. All in all a very promising performance.
Erda: In Siegfried Catherine Wyn-Rogers sings the notes but fails to convey the drama. More dramatic is Christa Mayer in Rheingold, though she still fails to project the primal force of the Earth Goddess.
Waltraute: Waltraute´s part is probably a bit too high for Catherine Wyn-Rogers, whose dramatic strengths lie in her lower register declamations. However, her excessive middle-register vibrato combined with a stiff stage presence makes no competition for excellent DVD Waltraute´s such as Waltraud Meier or Anette Bod.
Gutrune: Elisabete Matos, essentially a dramatic soprano, seems miscast in this essentially lyric part, where she simply sounds too harsh.
Gunther: A dry voiced Ralf Lukas effectively conveys what is here a very unsympathetic character.
The conductor and the orchestra
A young orchestra initially assembled by Lorin Maazel and conducted here in their first Wagner production by veteran Zubin Mehta. In this context, their performance is impressive though it does not measure up to the best on DVD. According to Mehta, the biggest challenge was getting the brass sections to work. This part worked out well and the strings sound fine.
I suspect the problem lies with Zubin Mehta´s interpretation: He simply plays too undynamic and without applying the small shifts in tempo so essential for the dynamic of the work. On the contrary, on several key points in the score (such as Siegmunds death, the Wotan/Fricka scene in the Valkyrie, Wotans “wer meine speeres spitze”), he slows the tempo markedly creating a vacuum.
Despite the impressive effort by the orchestra, they are no match for the two Bayreuth DVDs, the Metropolitan Opera Orchestra or the Royal Danish Orchestra.
In brief - the highlights and lowlights
Highlights – The stunning images and inventive use of actor-acrobats.
Lowlights – no real lowlights, but weak points were the interpersonal relations, weakest between Siegfried and Brünnhilde. Some of the costumes, notably the Wälsungen incl. Siegfried and the Valkyries resemble Anna Russell caricatures and make their characters look outright ridiculous
The bottom line (scale of 1-5, 3=average)
Juha Uusitalo (Wotan): 4
Anna Larsson (Fricka): 5
Franz Josef Kapellmann (Alberich): 3
John Daszak (Loge): 5
Matti Salminen (Fasolt): 4
Stephen Milling (Fafner): 5
Saturday, 10 March 2012
When I saw this Don Carlo in Oslo I called it a kitsch production and I gave Hytner a 2-3 on a 5-point scale. After having now seen the DVD of the same production, though taped at the London Royal Opera, I´d like to revise that statement slightly: Yes, there are plenty elements of plastic pastiche in this staging, but the close-up video images make the production come alive as it did not in the theatre. Especially the auto-da-fe is transporting.
It is clear that Hytner is a theatre man, the instruction of the singers is superb (he was not present for the preparations of the Oslo staging) and the production is stuffed with drama of the theater-sort-interpersonal kind: No one is entirely good, nor are they entirely evil. As I have described earlier, the main focus of the staging is Don Carlo.
Marina Poplavskaya is a fantastic stage personality, who simply has to be seen. Voally, however, she is severely over-challenged. Despite a wonderful colour to her middle voice, hers is a rather small lyric soprano and she simply cannot maintain the vocal lines or project especially the high notes. When her great moment finally comes in the beginning of Act 5 with "tu che la vanita", she is simply exhausted. Nevertheless, she is far from boring, her entire person exuding drama. Poplavskaya replaced the originally scheduled Angela Gheorghiu, who apparently didn´t find the role suitable for her voice.
Equally so, but to a lesser degree for Rolando Villazon´s hyperactive neuroticism, which seem to suit Don Carlo well, though he more than occasionally resorts to yelling. It would have helped both of them (not to mention) if the, in my opinion, redundant Act 1 (Fontainebleau) had been cut.
Ferruccio Furlanetto is outstanding, primarily due to his dramatical abilities. The change betwee the menacing Filippo seen in public and the vulnerable private Filippo seen in the bedroom scene is nothing short of superb. Admittedly, he doesnt actually sing all the notes, but creates a character worthy of a Hollywood actor.
Simon Keenlyside is immensely popular among the audiences her and makes a both dashing and vocally solid Posa. Sonia Ganassi is a quite likable, vocally firm Eboli, though in the house I imagine her voice could be a bit too small.
Finally, but not to be forgotten, Antonio Pappano follows up with a transporting performance.
In Oslo, I saw René Pape, Anja Harteros and Peter Mattei as the lead trio and also Jonas Kaufmann has sung Don Carlo in this production. Nevertheless, especially from an acting point of view, the besetzung choices for this DVD are far from bad, though personally I must admit to have preferred at least three the last-mentioned four, with the choice between the superb vocalism of Anja Harteros and the absorbing commitment of Marina Poplavskaya is not easily made.
Vocally, this DVD is perhaps below the ideal, but dramatically it works.
The bottom line (scale of 1-5, 3=average):
Rolando Villazon: 3-4
Marina Poplavskaya: 3-4
Sonia Ganassi: 3-4
Simon Keenlyside: 4
Ferruccio Furlanetto: 5
Nicolas Hytner: 4-5
Antonio Pappano: 5
Overall impression: 5
Monday, 5 March 2012
This run of Partenope at the Royal Danish Opera was plagued by accident. Tuva Semmingsen sung about 3,5 ( of 6 or 7) performances and miming to Trine Bastrup Møller singing from the pit in the rest. Furthermore Andreas Scholl started indisposed, being well only towards the end. Only two performances, saw all major artists were on stage together, indisposed.
Most of what I´d like to say about this DVD, I have already said in conjunction with my reports of the premiere and one of the later performances, the second-last in the run, where the entire scheduled cast were performing.
In brief, to avoid excessive repetition:
- It is a wonderful production, full of life and with an exceptional contemporary feeling. T
- he contratenors are simply wonderful: Andreas Scholl, with the white sound, Christophe Dumaux with the darker sound both act and sing wonderfully as the extrovert vs. introvert lover.
- Tuva Semmingsen, the Danish answer to Cecilia Bartoli, is entirely convincing as Rosmira, while
- Inger Dam-Jensen (Cardiff Singer of the World Winner in 1993 and one of the few not to have had an international career), though slightly dry-voiced, is a believable Partenope.
- Lars Ulrik Mortensen conducts with his usual vigeur and together with Negrin´s Giulio Cesare, this Partenope is among the biggest artistical achievements of the past ten years of the Royal Danish Opera.
The bottom line (scale of 1-5, 3=average):
Inger Dam-Jensen: 4
Tuva Semmingsen: 5
Christophe Dumaux: 5
Andreas Scholl: 5
Francisco Negrin: 5
Lars Ulrik Mortensen: 5
Overall impression: 5
Saturday, 3 March 2012
"Do we really need to see this Nazi-kitsch in Munich?", several people commented referring to the January 2009 premiere of Stückl´s staging of Pfitzner´s opera Palestrina at the Bavarian State Opera.
Hans Pfitzner (1869-1949), apparently like the Nazis more than they liked him. No matter where Palestrina, essentially a clerical drama, is staged, the qualities of the work is an issue, much like the case of the Korngold´s Die Tote Stadt , though Korngolds political circumstances were radically different from Pfitzners.
Palestrina is an opera essentially about artistic creation, in the tradition of such works as Meistersinger.and Benvenuto Cellini. In brief the opera center is about the Italian renaissance composer Giovanni Pierluigi Palestrina (born around 1525) and how he overcomes writing block after the death of his wife to compose a masterpiece Missa Pape Marcelli in 1555 (a fictive event), battling internal demons as well as a Papal attempt to ban polyphony and revert to Gregorial chant. Helped by angels.
While director Christof Stückl would "like to put Pfitzners relationship with Nazism on stage, but doesn´t know how to do it", conductor Simone Young finds it entirely "possible to separate the man from the work".
The result is a colourful, geometric, simplistic staging, receiving mixed reviews at the premiere. Kitsch, some said. Boring, said others.
I´d say that as much as a creative process is an interesting to be part of, as boring can it be to the creative processes of others from the outside and though Stückl´s staging may offend very few, most likely it will excite a similar number.
Nevertheless, Palestrina provides a good opportunity to utilise the (male) ensemble singers with the required 38 soloists + choir. Christopher Ventris makes the most out of the main character, but most of all, the evening belonged to Simone Young, drawing wonderful dense colours from the orchestra.
Cast: The bottom line (scale of 1-5, 3=average):
Christopher Ventris: 4
Everyone else: 4
Simone Young: 4
Christian Stückl: 3
Overall impression: 3
Thursday, 1 March 2012
I saw this production in Salzburg in 2007 and was impressed, but as the Salzburger Festspielhaus is massive, even if my seat was good, I now see how many details I missed.
Director Philipp Stölzl is mainly known as a video director, having worked both with Rammstein and Madonna (American Pie) and the James Bond titel song The world is not enough. He directs opera as he does music videos - fast-paced, colorful, aesthetic. I remember some found him superficial in Salzburg. I think it is outstanding.
In brief we are somewhere in a future city, on top of a roof, the skyline constantly visible. Key elements include: Robots, a helicopter (in which Cellini makes his arrival), the Pope as a rockstar and so on. The special effects are stunning, and apparently Stölzl and his team spent a week in the Festival House to design the light effects. Gotham City I called it when I saw it in Salzburg.
Vesselina Kasarova sprained an ankle during Alcina in Munich and cancelled, as did Neil Schicoff, allegedly due to some controversy over the appointment of the new intendant of the Vienna State Opera (a post he didn´t get). While Kate Aldrich was a great replacement for Kasarova, less so for Burkhard Fritz, who was somewhat less than ordinary. Committed performance also from Valery Gergiev and the Vienna Philharmonics.
The bottom line (scale of 1-5, 3=average):
Burkhard Fritz: 3
Maija Kovalevska: 4
Laurent Naouri: 3-4
Mikhail Petrenko: 3-4
Kate Aldrich: 4
Stölzl´s staging: 5
Valery Gergiev: 5
Overall impression: 5