Berlin: Major success for new production of Die Ägyptische Helena

Die Ägyptische Helena. Berlin Deutsche Oper, February 14th 2009. Production: Marco-Arturo Marelli. Cast: Ricarda Merberth (Helena), Robert Chafin (Menelaos), Laura Aikin (Aithra), Morten Frank Larsen (Altair). Coductor: Andrew Litton. Further information here

Apparently Richard Strauss and Hofmannsthal were surprised by the lack of success of Die Ägyptische Helena when it opened in 1928 at the Dresden Semperoper. From a musical point of view, its easy to see why as it contains some of Richard Strauss´ most glorious music, closely related to Die Frau Ohne Schatten. The action, however is too hopeless to be relayed here in detail (go here), however in brief: Helen of Troy and her cuckolded husband Menelaos have marital troubles, but are ultimately reconciled, helped by the sorceress Aithra. All while The Omniscient Mussel yells out prophecies and warnings from the sideline.

Marco-Arturo Marelli obviously has the major advantage that nobody really knows what this piece is about, thus the action as described in booklets is compared to Marelli´s vision as opposed to the other way around. Marelli, of the stylish Vienna Cappriccio, is equally stylish here, making efficient use of a revolving set, placing the action within three frames: The war of the past; Aithras world of the present, complete with faded oriental charm; and lastly, the fantasy world of Zweite Brauchtnacht with furniture turned upside-down. Very elegantly done. Complete with repositioning and cutting of a few scenes to make the action "believable for the public", in Marelli´s word.

As Helen of Troy, one has to be able to sing Strauss´ soaring tones as well as look like the most beautiful woman in the world. Ricarda Merbeth with her expressive, though slightly dry voice gets reasonably away with it, matched by a vivacious Laura Aikin as Aithra. Robert Chavin was indisposed as Menelaos, but fought his way through the evening. Finally, Andrew Litton succeeded in bringing out myriads of details from the orchestra in an elegantly subdued performance.

Clearly one of the best performances I have seen at the Deutsche Oper Berlin in recent years, if not the best.

The critics wrote:

Tagesspiegel: picturesque staging from Marelli..praise for the singers
Berliner Morgenpost: A triumph
Die Welt: Deutsche Oper masters Richard Strauss´ difficult work with bravour

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

Ricarda Merberth: 3-4
Robert Chavin: 3-4
Laura Aikin: 4
Morten Frank Larsen:3

Marelli´s production: 5

Andrew Litton: 4

Overall impression: 4


Photographs from the company website.

Tristan on DVD: Gwyneth Jones and René Kollo in 1980 Deutsche Oper Götz Friedrich production

Tristan and Isolde. Production: Götz Friedrich. Deutsche Oper Berlin 1993. Cast: Gwyneth Jones (Isolde), René Kollo (Tristan), Hanna Schwarz (Brangäne), Gerd Feldhoff (Kurwenal), Robert Lloyd (King Marke). Conductor: Jiri Kout. More information here.

Götz Friedrich´s 1980 Tristan and Isolde (which may still be seen at the Deutsche Oper) is simple, traditional and very aesthetic, with the directorial focus on the relationship between the protagonists. A wooden ship, a garden, a stony bridge among rocks. Contrasting lights are used to great effect, best is the discovery scene where King Marke and his men approach the suddently illuminated couple on a wooden bride above the ”garden”.

There is an effusive air of romantic middle age to this production, quite similar to that of Ponnelle´s 1982 Tristan from the Bayreuth Festival. Unfortunately, this is where the similarities between theses two productions end:

The protagonists are simply way past their prime and the major draw-back of the production is Gwyneth Jones´ wobbly Isolde, captured at a point where her wobble has become intolerable. Gwyneth Jones has had a long and distinguished careeer, and in the 60´s and 70´s she was very exciting – but she simply continued singing this repertoire way too long: This Isolde is one example, her Ortrud in Paris 1996 was even worse.

At the time of this recording, Gwyneth Jones was 56 and René Kollo 55. Kollo is slightly less offensive than Jones, but still a shadow of his 1982 performance in the Bayreuth Barenboim/Ponnelle production. As for the others: Hanna Schwarz remains a fine Brangäne, though vastly better in the previously mentioned Ponnelle production as well. Robert Lloyd is a dramatically convincing King Marke, his peculiar nasal singing apart.

Jiri Kout is a competent conductor, but predictably fades compared to Daniel Barenboim.
For those wanting a Tristan with a "traditional" staging, the recently released DVD Tristan from the Bayreuth Festival 1982 in Ponnelles production conducted by Daniel Barenboim is recommended as it is superior at every single point.

Gwyneth Jones and René Kollo in the love duet:

The bottom line:

Gwyneth Jones: 1
René Kollo: 2
Hanna Schwarz: 3
Robert Lloyd: 3

Jiri Kout: 3

Götz Friedrich´s staging: 3-4

Overall impression: 2

Rosenkavalier at the Berlin Deutsche Oper

Rosenkavalier, Deutsche Oper Berlin, March 15th 2008. Production: Götz Friedrich. Cast: Elina Garanca (Oc), Christine Schäfer (Sophie), Michaela Kaune (Marschallin), Peter Rose (Ochs). Conductor: Philippe Auguin

Judged by the tremendous applause I don´t think anyone in the audience would disagree that this was an immensely well-sung performance of the Rosenkavalier (more here)- with Elina Garanca deservedly receiving the major applause for her quite fabulous Octavian: She has everything this role requires: A beautiful firm voice (in many ways reminding of the young Christa Ludwig), a great talent for comic acting, providing an very convincing portrayal of the young boy Octavian.

Equally convincing was Peter Rose as Ochs : Wonderful low notes, a steady voice, and again, a great talent for comic acting. Funny, but never exaggerates into the ridiculous, making this Ochs a believable character, not just a parody.

Christine Schäfer was Sophie, and despite beautiful, stylish singing, the Sophie train may have left, if it was ever there: Never a specialist in innocent girls portrayals, the part does not appear to suit her dramatically. Also Michaela Kaune, a fine, but not a stand-out as the Marschallin with a beautiful voice, but somewhat lacking in characterization.

Philippe Auguin was competent, but the true flow and elegance of this music never really was transmitted to the audience. And Götz Friedrich´s production is from 1993, which shows: Stylish, but dusty. Modern in the outlook, but with no real departures from the storyline or new interpretative angles.

High-quality Meistersinger revival at Deutsche Oper Berlin

Die Meistersinger von Nürnberg, Deutsche Oper Berlin, February 16th 2008. Production: Götz Friedrich. Cast: Robert Holl (Sachs), Stig Andersen (Walther), Michaela Kaune (Eva), Markus Brück (Beckmesser). Conductor: Peter Schneider.

You only needed to hear 3 bars of the prelude to realize, that this was going to be a musically excellent performance. Conducted by Peter Schneider, the orchestra played up to their best. And in this notoriously difficult piece as well..In fact, it´s not that difficult to get through, but to Schneider´s reading is not as light-hearted brilliant as Thielemann or as dramatic as Barenboim, but falls somewhere between these two categories and he more than holds his own here.

The production is Götz Friedrich´s old one from 1993, also available on DVD. While it probably doesn´t offend anyone, neither does it excite, being equally boring on DVD vs. in the house.
Lenus Carlson (singing Kothner) was the only member performing this evening of the original cast of 1993 and according to an interview, the cast rehearsed with Friedrich 6 hours a day for two months before that premiere. "Don´t give me that Juillard-shit" - Götz Friedrich apparently told Carlson, whenever he did something that didn´t please him, which according to Carlson did not happen very often, though.

Robert Holl is a rather good Hans Sachs. Not under real pressure at any point and holding his way throughout. Also fine singing from Stig Andersen as Walther as well as Markus Brück´s both funny and well-sung Beckmesser and Michaela Kaune´s almost ideal Eva, whom all received major applause from the audience.

Disengaging Elektra in Berlin

Klytämnestra looking down on Elektra in her pit.

Elektra. Deutsche Oper Berlin, December 14th. Production: Kirsten Harms. Cast: Jeanne-Michelle Charbonnet (Elektra), Claudia Iten (Chrysthemis), Jane Henschel (Klytemnestra), Alfred Walker (Orest). Conductor: Leopold Hager.

Intendantand director Kirsten Harms´ concept for her new Deutsche Oper production of Elektra, which opened earlier this month was simple: A dark sand-covered deep pit, surrounded by concrete walls. Elektra lives here surrounded by skeletons. People communicate with her (including throwing her food bits) through small openings in the walls.

Basically it looked well and may well have worked, not at least since any staging of Elektra basically works, if the musical ingredients are there. Which, unfortunately they weren´t in this production:

Jeanne-Michele Charbonnet did not convince me as Elektra. I found her expression too mellow, her vibrato too large and her acting disengaging. Admittedly this part is hard to cast, but Eva Johansson´s electrifying Elektra in Copenhagen last season, as well as in Zurich comes vividly into mind.
Jane Henschel had some of the right temperament and voice for Klytemnestra but seemed well lulled into the mellow atmosphere on stage. More lively was Claudia Iten as Chrysothemis, a fine voice, though slightly shrill at times. Alfred Walker´s Orest was the vocal highlight with a firm and solid bass-barytone.

Most importantly, however, Leopold Hager´s conducting was decidedly "un"-electrifying and tedious, and for once this opera was almost boring to listen to.

Photo from www.deutscheoperberlin.de.

Berlin: Hansel und Gretel at Deutsche Oper

Hänsel und Gretel. Deutsche Oper Berlin, December 16th. Production: Andreas Homoki. Cast: Fionnula McCarthy and Ulrike Henzel.

In brief: If you have kids, take them to see this. If not: Take somebody elses kids. It is a kids performance - and a good one at that. The auditorium was filled up with kids between 3-10 and their parents for this Sunday afternoon performance at the Deutsche Oper in Berlin.

Andreas Homoki´s staging is simple and effective. The kids screamed of fear when the witch appeared and adequatly booed him at curtain calls. Fresh singing and convincing acting of the siblings by Fionnula McCarthy and Ulrike Henzel.

Major applause for Anja Harteros and Piotr Beczala in Traviata at Deutsche Oper Berlin

La Traviata. December 17th, Deutsche Oper Berlin. Production: Götz Friedrich. Cast: Anja Harteros (Violetta), Piotr Beczala (Alfredo), Markus Brück (Germont pére). Conductor: Renato Palumbo.

The biggest applause I have yet seen at the Deutsche Oper went to Anja Harteros and Piotr Beczala in Götz Friedrich´s old La Traviata production Monday evening.

Anja Harteros without doubt is a first-rate Violetta, tall and dark with a clear voice and unstrained coloratura. She looks the part and act convincingly as well. She does however have a tendency to hit the notes rather sharp and her vibrato is too large especially in the middle register for someone as young as she is. But I do not think her Violetta may be matched by many others today.

Matched by Piotr Beczala, simply an ideal Alfredo with his clear warm voice and appealing stage presence. Not to forget Markus Brück´s fine Germont pére.

Also a well-deserved success for the resigning (and much critiziced) musical director Renato Palumbo. He did have some trouble synchronizing with the singers, but so they did over at the State Opera, where Daniel Barenboim had more than average trouble synchronizing the Don Giovanni with René Pape a couple of days ago, making Palumbo keep rather good company here..

The post-nuclear Ring - Deutsche Oper Berlin

This is Götz Friedrich´s ”cold-war” Ring from 1984, still in the repertoire at Deutsche Oper Berlin. I attended a Cycle during the second week of February 2007:

The Gods have escaped into a tunnel after the nuclear war has destroyed the world. This tunnel is a constant feature in the cycle serving as backdrop of the end-game of the Gods: The end is like the beginning, and the bomb detonates once again in the end of Götterdämmerung, sending Alberich scrambling for the gold once more.

The relatively bare stage brings a certain mythologic quality to the work, although I find the whole set-up dusty and the direction of the singers uninteresting (difficult to say if this was the original intention of Götz Friedrich since he died in 2000).

I suspect that Donald Runnicles may actually be a quite competent Wagner conductor, although his style is a bit too passive and distant for my liking.There were glimpses of fine playing by the orchestra, but generally it was close to disastrous: Imprecise to an embarassing degree combined with odd changes in tempi not followed by the singers. Worst in Rheingold, gradually improving however, with Götterdämmerung the absolute highlight, after 12 hours rehearsing, I suppose. To Runnicles´ defence I must add, that it was the first time he conducted the orchestra and being a revival production, rehearsing time probably was limited. But there is no doubt, that in Wagner, the leading orchestra is at the Berlin State Opera, especially when Daniel Barenboim is on the podium.

The singers were the usual suspects: Evelyn Herlitzius (Brünnhilde)-very lively and engaging, Eva Johansson (a fine, though neurotic Sieglinde), Robert Dean Smith (quite moving as Siegmund, making excellent use of his not too large voice), Alfons Eberz (vocally a fine Siegfried, but otherwise rather stiff ). And Terje Stensvold as a vocally magnificent Wotan. Voc. Impressively how this man´s international career seems to have started at a time where most others´ end.

But the most impressive performance was Matti Salminen´s excellent Hagen, stepping in for an indisposed Hans Peter König. Moving in and out between magnifying glasses, showing his face in grotesque proportions, he was the absolute center of Götterdämmerung, personifying evil and with subtle irony as well. And vocally – no problems at all with Hagen´s Call. Incidentally, Matti Salminen also sang Hagen, when this production premiered in 1984 and is the most convincing Hagen I have seen since the late Aage Haugland in Aarhus in the late 1980´s.

This is in fact, a relatively visitor-friendly Ring Cycle scheduled in one week only. However, the Deutsche Oper is not a very attractive venue, especially when compared to competing venues such as the State Opera, not to mention the Dresden Semperoper, only 2 hours away.

Although the staging still holds a certain interest, as well as serving as a historic doument of Friedrich´s work and being an important production in the history of Ring stagings, I´d say that for artistic reasons a new Deutsche Oper Ring would not be out of place, but for monetary reasons this looks not very realistic.