giulio cesare by david mcvicar

Giulio Cesare in Egitto. DVD. Glyndebourne 2005. Production: David McVicar. Conductor: William Christie with Orchestra of the Age of Enlightment. Cast: Sarah Connolly (Giulio Cesare), Angelika Kirchschlager (Sesto), Danielle de Niese (Cleopatra), Patricia Bardon (Cornelia), Christopher Maltman (Achilla), Christophe Dumaux (Tolomeo).

We are in the 19^th Century at the time of the British colonisation of Egypt and the opera evolves around the clashes between the British (Giulio Cesare) and the Egyptians (Cleopatra and her brother Tolomeo). David McVicar has created a fast-paced exciting production, that really has to be considered a must for those interested in baroque opera. Even those not normally inclined towards baroque, such as myself, may find this production highly entertaining, which I certainly did. First of all, what really sets this production apart are the many rhythmic dances and movements accompanying the music.  Secondly, there really are some quite funny moments as well - to just mention one, take a look at Cleopatra when she dumps her cigarette into the urn of one of Cesar´s rival, Cornelia´s late husband Pompeo.

Danielle De Niese gives us an entirely unsophisticated, almost vulgar version of Cleopatra. Her voice rings clear, she has a very direct manner of delivery and she is a fabulous dancer. She definitely has the “X” factor  she seems completely involved in the portrait of this scheming character, no doubt helped by David McVicar´s entertaining personenregie. No wonder she had her international breakthrough with this role. Later, however, it became clear that she applies this particular stage manner to all of her roles at which point her career seemed to stagnate a bit.. However as Cleopatra, and as Poppea as well, she is fabulous. .

While I personally prefer a countertenor in the part of Giulio Cesare, I must admit that I have never seen a female singer as convincing as Sarah Connelly in a pants role: Her masculine bearing as well as forceful masculine straight-toned singing is simply extraordinary. Futhermore her presence comes with a hint of an underlying menace, very appropriate for a Roman emperor/British general.

Patricia Bardon sings Cornlia with beauty but the Erda-like power the part demands, she does not have. And yes, she sings Erda too, with the exact same problems as here. Angelika Kirchschlager in her first baroque production is a youthful Sesto, looking at least 20 years younger than Kirchschlager´s age.

Christophe Dumaux seems to be the Tolemeo of choice today appearing in almost every production of importance. While he sings beautifully, he somehow fails to leave a lasting impact on stage – after all he is Giulio Cesar´s main adversary but up against Sarah Connelly he seems bleak.

To complete the cast, there is an extraordinary rhythmic drive and vivacity in the Orchestra of the Age of Enlightenment conducted by William Christie.

This production will be seen later this spring at the Metropolitan Opera, where Patricia Bardon will repeat her Cornelia with David Daniels as Giulio Cesare and Natalie Dessay as Cleopatra, a role she also performed in the Pelly production from Paris. And Christoph Dumaux, of course, as Tolomeo.

This could well be the production of choice for many and in any case it is certainly worth a view. Personally, I still prefer Negrin´s production from Copenhagen, due to the even greater vivacity and Andreas Scholl´s Giulio Cesare.

Danielle De Niese - Da tempeste:

The bottom line (scale of 1-5, 3=average):

Sarah Connelly: 5

Danielle De Niese: 5

Angelika Kirschschager: 5

Patricia Bardon: 3-4

Christoph Dumaux: 4

David McVicar´s production: 5

William Christie: 5

Overall impression: 5

Berlin: Success for Angelika Kirchschlager debut as Carmen

Carmen. Deutsche Oper Berlin, March 8th 2009. Production: Schumacher revision of 1979 production. Cast: Angelika Kirchschlager (Carmen), Massimo Giordano (Don José), Michaela Kaune (Micaëla), Raymond Aceta (Escamillo). Conductor: Yves Abel. Further information here.

Not even 3 months ago, director Jürgen Gosch had to cancel this new Carmen at the Deutsche Oper due to illness, leaving the house with two choices: Either cancelling the whole thing or mounting a revival of the old 1979 production. They chose the last option and mounted a so-called "refreshened" version of their drearily realistic 1979 Carmen production. As I have not seen the originial version, I may not comment on exactly what constituted the "refreshments", though suffice to say the production looked drearily realistic and is better forgotten than mentioned.

I believe the house had offered a refund to ticketholders, however I came for Angelika Kirchschlager´s Carmen. Originally scheduled a couple of searons ago at the London Royal Opera (where she was replaced by Anna Caterina Antonacci), this performance marked her debut in the role.

And in short, Angelika Kirchschlager is a wonderful Carmen. Not the obvious choice of role for her as a predominantly lyrical mezzo-soprano basing her career primarly around such parts as Octavian (Rosenkavalier), her approach is nevertheless far from timid. Though essentially a lyrical voice, she clearly puts characterization over beautiful sound and projects well throughout her entire range. The dramatic punch some may miss in her interpretation, she makes up for with distinctive characterization. And she never forces her voice. Furthermore, her acting is fabulous in what is probably her most challenging part on stage as yet. This Carmen is certainly not a slut, she is an ordinary, elegant woman insisting on her freedom. In an accompanying interview Angelika Kirchschlager stated that: "There is nothing in Carmen, I do not see in myself. The figure is only positive." And this is exactly how she plays it.

Local favourite and ensemble member Michaela Kaune sang a touching Micaëla while American bass Raymond Aceto made an excellent impression with a both voluminous and steady voice and seems destined for greater things in the future.

Major applause also for Massimo Giordano. He has the notes, he looks fine, but ultimately I found him relatively uninteresting, mainly due to the lack of expressivity and engaged acting.

A bit more punch from Yves Abel in the pit would have contributed greatly to the creating of drama on-stage as the orchestra played almost too nicely. But they played well.

The bottom line (scale of 1-5, 3=average):

Angelika Kirchschlager: 5
Massimo Giordano: 3-4
Michaela Kaune: 4
Raymond Aceto: 4-5

The staging: 2

Overall impression: 3-4

Simon Keenlyside and Angelika Kirchschlager sings operetta

Angelika Kirchschlager and Simon Keenlyside: Dein is mein ganzes herz. Alfred Eschwé conducts the Austrian Tonkünstler Orchestra. Further information here.

This is simply a wonderful disc of operetta highlights, including a couple of rarities, from Austrian mezzo-soprano Angelika Kirchschlager and British barytone Simon Keenlyside. A programme, with which they have toured several European cities, including London this fall.

There are more opinions on how this music should be interpreted than there are tracks on this disc, and in brief, what these two do simply works. Angelika Kirchschlager adapts excellently to the operetta quasi-sprech-gesang style with straigth-forward, and most importantly, unsentimental delivery. Which also applies to Simon Keenlyside, whose rather dry, firm barytone seems very well suited to this repertoire. Vividly accompanied by Alfred Eschwé and the Austrian Tonkünstler Orchestra.

Clearly recommended.

The bottom line (scale of 1-5, 3=average):

5

Salzburg 2003: David McVicar´s stellar Hoffmann

Les Contes d´Hoffmann. Salzburg Festival 2003. Production: David McVicar. Cast includes: Neil Schicoff (Hoffmann), Angelika Kirchschlager (Muse), Ruggero Raimondi (Villains), Waltraud Meier (Giulietta), Krassimira Stoyanova (Antonia). L´ubica Vargicová (Olympia). Conductor: Kent Nagano.

Unsurprisingly, David McVicar produced a tragic version of Hoffmann´s tales for the 2003 Salzburg Festival. Why write about this event 5 years later? It was shown on television, and if released on DVD, it will be first choice on the market, pushing Robert Carsen´s Paris version down to second place.

It is a very atmospheric staging, one of McVicar´s best. He succeeds brilliantly in capturing the essence of Hoffmann - provided one accepts his view of decadence and tragedy.

According to David McVicar, Hoffmann is an alcoholic and a looser. In the end, this Hoffmann simply dies, and the opera simply follows his death spiral. The imagery are slightly more glitzy aesthetical, but otherwise typical of David McVicar (Manon, Salome, Nozze, Rigoletto) portraying the fading elegance of a decaying society. On a related note, I though the naked muscular man with blood sprayed all over his back was a McVicar invention for his London Salome earlier this year. Not so. This man appears in the beginning of the Giulietta scene 5 years earlier in Salzburg...

Neil Schicoff is the perfect Hofmann for this sort of interpretation capturing the exact essence of desperation and tragedy as well as being vocally on top from. Accompanied by Ruggero Raimondi as the perfect villains, with the exact required undercurrent menacing presence. Vocally he may be past his prime, but not enough to make it matter: He still pulls of a scintillating Scintille Diamant. And looks excactly as I imagine the Villains to look.

Angelika Kirchschlager is quite simply the perfect Muse, here Hoffmann´s lover. As demonstrated by L´ubica Vargicová (surely one of the strangest names on the opera circuit) Olympia is not an easy part to bring off. Krassimira Stoyanova is a straight-foward, unsentimental and stylishly sung Antonia. And Waltraud Meier, though an unusual choice for Giulietta and slightly unusual sounding, nevertheless is entirely captivating as well as in fine voice.

My main reservation of this production, and unfortunately not a negligeable one, is Kent Nagano. Never the conductor of a dense romatic approach he choses a lighter reading, unfortunately not fitting David McVicar´s tragic approach, nor Offenbach´s sumptuous score.

Marjana Lipovsek, Kurt Rydl and Robert Tear had smaller parts in this much-too stellar cast not to warrant a DVD release....

As this is not commercially released, this obviously is no competition to the Carsen Paris DVD.

The bottom line (scale of 1-5, 3=average):

Neil Schicoff: 5
Angelika Kirchschlager: 5
Ruggero Raimondi: 5
L´ubica Vargicová: 3
Krassimira Stoyanova: 4
Waltraud Meier: 5

David McVicar: 5

Kent Nagano: 3-4

Overall impression: 4-5

DVD: Merry widow with Skovhus, Kenny and Kirchschlager

The merry widow. San Francisco Opera 2001. Production: Lotfi Mansouri. Cast: Yvonne Kenny (Anna Glawari), Bo Skovhus (Danilo), Angelika Kirchschlager (Valencienne), Gregory Turay (Rosillon). Conductor: Eric Kunsel. Further information here.

This is Lotfi Mansouris last production after 39 years with the San Francisco Opera, general director from 1988-2001. An entirely traditional production, applying grand opera to The merry widow and brought to life mainly by the superb acting skills of the involved singers. Individual taste will decide whether this is the way of the merry widow or not..

Both Bo Skovhus and Angelika Kirchschlager were in splendid voice as well as being superb comic actors. So was Yvonne Kenny, who has a very beautiful timbre to her voice, though perhaps not the plushness ideal for the Widow. Additionall, she looks more like Bo Skovhus´ mother than his future wife..

All of the supporting cast equally was up to the task. As was conductor Kunzel, providing a vivid accompaniement.

New and funny dialogue was provided by Wendy Wasserstein. Sung in English, it was apparently decided that providing English subtitles were not necessary to understand what was going on (they are...).

The bottom line (scale of 1-5, 3=average):

Yvonne Kenny: 4
Bo Skovhus: 5
Angelika Kirchschlager: 5

Mansouri´s production: 2

Eric Kunzel: 4

Overall impression: 3

Robert Carsen´s superb 2004 Salzburg Rosenkavalier on DVD

Rosenkavalier. Salzburg Festival 2004. Production: Robert Carsen. Cast: Adrianne Pieczonka (Marschallin), Angelika Kirchschlager (Octavian), Miah Persson (Sophie), Franz Hawlata (Ochs). Conductor: Semyon Bychkov with the Vienna Philharmonics. More details here.

Given the choice between nostalgia or decadence, the traditional Rosenkavalier productions on DVD (see below) chose nostalgia. Robert Carsen chose to depict a decadent society in decay in his 2004 Salzburg Festival production.

First act takes place in the decadently luxurious chamber of the Marschallin and the enourmous stage of the Grosses Festpielhaus is utilized to the maximum as several things take place simultaneously in parallel chambers.

We are in Vienna immediately preceding the outbreak of World War One. Octavian seems only one in a (long) string of lovers of the Marschallin. Ochs is a military man arriving with his regiment of soldiers.
Act two takes place in a large dining room with a dinner table almost spanning the 100 meter width of the stage complete with war paintings on the back wall. Sophie is wiser, not quite the naïve innocent girl reciving Octavian, when he arrives on a live horse to present the silver rose. Ultimately Ochs walks almost straight into Octavian´s sword while his regiment of soldiers harass the household of Sophie´s father in a very entertaining scene.

The third act takes place in a brothel covered in red lights, complete with full frontal nudity and transvestites, definitely more funny than sexy. Octavian is clearly enjoying himself with the girls and make out with Sophie on the bed with the Marschallin walking by. This relationship won´t last. And in the end, we just see the assassination of Archduke Ferdinand setting into motion the chain of events leading to the First World War.

The production was equally loved and hated by audiences in 2004. Clearly my favorite Rosenkavalier production on DVD, not the least due to the simply outstanding cast.

Adrianne Pieczonka´s noble Marschallin shows why Strauss is her true fach and in my opnion she is the best Marschallin on DVD (as well as the best alive) - the nostalgia, the resignation - she seems to capture every facet of this part with her varied acting combined with her superb Straussian voice.
I have simply not heard a finer Octavian since Christa Ludwig than Angelika Kirchschlager - her even, rounded and simply beautiful voice combined with a rather masculine edge to her acting makes her unsurpassed as Octavian.
And Miah Persson´s beautiful Sophie completes this first-rate trio with her clear soprano and entirely convincing acting. Franz Hawlata is more noble than the traditionally ridiculous Ochs, and while he may not excel with his low notes, he more than fulfills Robert Carsen´s demands.

Do the Vienna Philharmonics really need a conductor to play this score, which they´ve probably played more than any other orchestra? Needless to say they played sumptuously capturing the exact right rhythms in the walzes for Semyon Bychkov.

Strongly recommended. However, those preferring a traditional Rosenkavalier may want to look at one of the two Carlos Kleiber-conducted Otto Schenk productions (I´d personally prefer the one from the Vienna State Opera) or the Georg Solti-conducted production from Covent Garden.

Adrianne Pieczonka and Angelika Kirchschlager in Act 1:

The bottom line (scale of 1-5, 3=average):

Adrianne Pieczonka: 5
Angelika Kirchschlager: 5
Miah Persson: 5
Franz Hawlata: 4-5

Semyon Bychov:4-5

Robert Carsen´s production: 5

Overall impression: 5

Capriccio in Vienna: Opera magic

Capriccio. Vienna State Opera. June 21th 2008. Director: Marco Arturo Marello. Conductor: Philippe Jordan. Cast: Renée Fleming (Countess), Bo Skovhus (Count), Angelika Kirchschlager (Clairon), Michael Schade (Flamand), Adrian Eröd (Olivier), Franz Hawlata (La Roche). Further information here.

In brief: Marco Arturo Marello´s new Capriccio at the Vienna State Opera is a perfect synthesis of all the elements of an opera production, creating the exact kind of theater magic you hope for every time you go to the opera, but which you may experience only a handful of times throughout an entire operatic life..

The Vienna press has been overflowing with praise for this production as well as for Renée Fleming´s Countess with phrases like ”best new production at the Vienna State Opera since I do not remember when”, ”Renée Fleming is the Countess of Richard Strauss´ dreams” etc. For once, I completely agree.

Marco Arturo Marello clearly sees Capriccio as a conversational piece (as did Richard Strauss). The staging is exquisitely beautiful, opening and ending with the two combatants (poet and musician) set at tables at each side of the stage, gradually flashing back the action to an imaginary baroque setting with glitzy costumes having the Countess, Count and Clairon move around in between an interchanging background of mirrors and baroque paintings. With the final scene taking place in a beautiful mirror-covered bluish room with a piano (pictured above). Is it traditional? No, not really. First of all, it is edgy, but also light. But most importantly, it is never sentimental.

For me, Renée Fleming´s appeal has never been the beautiful voice as an isolated phenomenon, and sometimes (yesterday as well) I find her sound to be too covered, bordering on the nasal in her middle-upper register, an artistic choice I suppose, as she didn´t sound like this 8 years ago. But my fascination with Renée Fleming is based on the complete package she delivers: Her exquisite, poised and elegant stage appearance and (most importantly) just genuinely moving dramatic abilities, combined with exquisitely phrased singing and legato lines. And she more than lived up to the ridiculously high expectations surrounding her first appearances at the Vienna State Opera since 1995.

In short, Renée Fleming´s Countess was completely fascinating. First of all, she was in superb voice. And she once again showed really why she primarily is a Richard Strauss soprano – the exquisite phrasing, the legato lines.. and not least, the superbly varied acting: She was both funny, elegant and stylish, but here (with Bo Skovhus) also decadent and childish, showing more edge to her acting that I´ve previously experienced.

But what fascinated most was in fact the way she was singing: A completely different interpretation compared to her 2004 Paris Countess. Here in Vienna, her interpretation went fully along with Marello´s concept of Capriccio as a conversational piece and she emphasized the sprech-gesang element throughout the evening, at the expense of creating a creamy sound, but instead gaining considerable edge to the characterizaion, indeed conversing with the others on stage (and quite clearly being more sympathetic towards the composer as opposed to the poet).

That Renée Fleming did not insist on flashing the beautiful voice in a house where she had not performed in 13 years, in my opinion testifies to her commitment as a serious artist. In fact, I have never before heard Renée Fleming sing like this anywhere, sacrificing the optimal sound in order to gain in characterization. A positive surprise, indeed. Only in the second half of the closing monologue did she apply the full force behind the voice and create her usual sound.

In the magazine of the Vienna State Opera, she mentioned the 51 roles she had been singing, and her wish to concentrate on a few of those (Tatyana, Marschallin and Countess) rather than learning new ones for the future. But she DID mention a desire to sing Ariadne in the future, and also Elsa in Lohengrin, as the only two potential new roles.

But this was not only Renée Flemings night. It was a genuine team effort.

Bo Skovhus was absolutely hilarious as a hypomaniac, half-neurotic (fully intentional) Count. He emphasized the sprech-gesang element as well, and fluttered around the stage constantly engaging the others in the action whether singing or not, demonstrating a considerable comical talent. And while his chemistry with Angelika Kirchschlager was somehow lacking (intentional or not?), it was superb with Renée Fleming, the two of them moving around on stage like spoiled, decadent children.

For some reason, Marello made the Clairon of Angelika Kirchschlager (a very beautiful woman) quite masculine and un-sexy, mimicking one of Kirchschlagers usual pants roles, her shiny pants almost symbolically visible under the dress at almost all points and bossing around with everybody. All done in splendid voice, clearly demonstrating why she, in my opinion, is the best mezzo-soprano on stage today in her fach, with a lustrous, even and powerful voice throughout the entire range.

There was not one single weak or even half-weak link in the cast. All were as good actors as singers: Franz Hawlata, a fine singer-actor as long as he doesn´t venture too far out on the Wotan-Hans Sachs path, managed the tricky balance of being funny but not overly ridiculous as La Roche. Both Adrian Eröd and Michael Schade were fine as the two combatants, but given the choice, I´d go with the conductor..

First of all, Philippe Jordan looks like a movie star. Secondly (and in that order, mind…) he conducted a superb performance abandoning the light conversational approach so often applied to this piece, for a more pointed, edgy interpretation, completely matched by the happenings on stage. Again, without sentimentality. And the orchestra just played marvellously.

Intermission or no intermission? The Vienna State Opera didn´t seem to be able to decide: Half of the performances with, half without. Starting without. Ending (yesterday) with. Does the potential drinks sale revenue from an intermission not play a part here? Since the house was, of course, packed. But more surprising, there was not one single empty seat to be seen anywhere, and all standing room spaces was full as well…

This was one of the truly rare nights were everything – stage direction, set designs, singing, acting and music – just blended perfectly together to create something that I´ll have to name theater magic failing to find a better expression. The performance seemed to literally take only minutes. And it´s Capriccio. Mind you, I do not even like Capriccio..

If ever a production deserves to be recorded for DVD it is this one. This was the last performance of the run (with no cancellations by any of this stellar cast for the entire run), but it will be revived next season in September-October. A very good excuse to plan a trip to Vienna..

Photographs from www.staatsoper.at

DVD: Gala concert at the Vienna State Opera

Gala for the 50th anniversary of the reopening of the Vienna State Opera. Vienna State Opera, November 5th 2005
Excerpts from: Don Giovanni, Rosenkavalier, Aida, Meistersinger, Frau Ohne Schatten, Fidelio

Artists include: Agnes Baltsa, Plácido Domingo, Thomas Hampson, Bryn Terfel, Violeta Urmana, Edita Gruberova, Angelika Kirchschlager. Conducting: Daniele Gatti, Zubin Mehta, Seiji Ozawa, Christian Thielemann, Franz Welser-Möst. More information here.

No matter how high the quality of the individual performances, these galas, in my opinion, tend to border on the tedious. Not the least due to the excessive applause between the contributions, at several points outlasting these in time. At least you get an impression of the atmosphere in the packed house, I suppose. During these applause session the camera repeatedly lingered on selected guests, of whom I only recognized Christa Ludwig, seated next to the entrance of the soloists and greeting many as they passed.

Is it worth watching? Definitely yes. Is it worth owning? I suppose that depends your affinity for this sort of thing and degree of liking for the individual performers.

Of particular note:

Bryn Terfel, despite a beautiful voice, is (still) not at his best in the Wagnerian repertoire (here as Hans Sachs).

Violeta Urmana - a really fine dramatic soprano. Couldn´t she be an option to resolve the much-talked-about Norma crisis at the Metropolitan Opera? I am sure she´d be great (here as Aida).

Agnes Baltsa - an immense presence on stage. She must have been completely mesmerizing to experience live in her prime, and was in impressively fine voice here (as Amneris).

Plácido Domingo - in very fine voice (as Radamés).

Angelika Kirchschlager - perhaps the ideal Octavian of today? (here as Octavian).

Christian Thielemann - does have a rather attention-seeking way of conducting (whether intentional is not for me to say), but the orchestra played gloriously with him (Meistersinger and Rosenkavalier).

Angelika Kirchschlager and Genia Kühmeier in the final scene of Rosenkavalier, Thielemann conducts: