pique dame barcelona dvd

Pique Dame. DVD. 2010 Liceu Barcelona. Production: Gilbert Deflo. Conductor: Michael Boder. Cast: Misha Didyk (Hermann), Emily Magee (Lisa), Lado Ataneli (Tomsky), Ludovic Tezier (Yeletski), Elena Zaremba (Pauline), Ewa Podles (Countess).

Tchaikovsky´s opera about the gambling addictive Hermann, who loves Lisa, but kills her grandmother the Countess in order to gain three secret winning cards is not quite at the same level of his Eugene Onegin, but nevertheless contains some beautiful music and 2-3 famous arias (one by Yeletsky, Lisa´s rejected fiance, 1-2 by Lisa). But above all it is the role of the Countess, which offers one of the few possibilities for great singer personalities and the role is often cast with singers far past  the age of normal retirement, presently both Anja Silja and Agnes Baltsa may be seen in the role.

The production by Gilbert Deflo is elegant and largely traditional: Period costumes, a sparse background, same recipe as he has previously used as in his Paris versions of Manon, Ballo in Maschera and Rigoletto (Zürich). Unfortunately it is not at the same levels as his best work, such as an extraordinary version of Prokofiev´s Oranges. Thus, while the central confrontation between Hermann and Countess is quite thrilling, other parts, especially the first act seems a bit jaded.

Hermann really is a quite unsympathetic character and Misha Didyk plays him well. Vocally, however he is quite overchallenged sounding heavily strained in almost every forte passage. Emily Magee is an at times wonderful and very touching Lisa, though she seems to mature for the role, which doesn´t seem to lie well for her and is not among her best. Ludovic Tezier in what is basically a one aria  + a bit more role, sings his one famous aria well and looks sufficiently disappointed by Lisa´s rejection of him.

However, by far the strongest performance is Ewa Podles grandiose Countess, a true primordial force and an entirely sufficient reason to watch this DVD or at least the 2^nd act.

Unfortunately the orchestra is somewhat disappointing as well, lacking both punch and density under Michael Boder.

Pique Dame is not well represented on recent DVDs, but however I doubt that this will end up as a first choice in five years time.

Ewa Podles and Misha Didyk in Act 2:

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

Misha Didyk: 3

Emily Magee: 4

Ewa Podles: 5

Ludovic Tezier: 4

Gilbert Deflo´s production: 3-4

Michael Boder: 3

Overall impression: 3

jonas kaufmann shines in film noir version of tosca

Tosca. DVD. Zurich Opera House 2009. Production: Robert Carsen. Conductor: Paolo Carignani. Cast: Emily Magee (Tosca), Jonas Kaufmann (Cavaradossi), Thomas Hampson (Scarpia).

Looking back at what I wrote when I saw this production in Zurich in 2008 during the same run which was filmed for this DVD, I see that my impressions of the DVD remain largely the same as my impressions of the live performance:

Another production-within-a-production, which Robert Carsen likes so much, as evidenced by his previous stagings of works such as L´incoronazione di Poppea, Don Giovanni and Contes d´Hoffmann. While this type of staging may not seem entirely inappropriate for a diva-esque play like Tosca, it nevertheless defuses some of the tension inherent in both music and libretto.

We begin in the empty audience in front of an empty stage: That is, we look at an empty auditorium in front of an empty stage, the real audience being, obviously, seated in the audience...
Cavaradossi paints on the wall of the theatre (Act 1), is tortured in a chamber adjacent to the stage (Act 2) and finally dies on the centre stage (Act 3). Carsen succeeds in creating a film noir atmosphere, which admittedly is a little bit too artificial for my tastes: Just take the freezing cuts in the middle of the otherwise very intense Tosca-Scarpia scene, placing Tosca directly under the spotlight, while completely defusing the tension between her and Scarpia. Clearly a matter of style outranking matt

Some may want to buy this DVD on the strengths of Jonas Kaufmann alone, completely understandable as he is the best Cavaradossi I have seen, on stage or on DVD. However, unless you want to own two DVDs with Kaufmann as Cavaradossi, the one from London with Angela Gheorghiu and Bryn Terfel is the better choice.

However, the cast is as fine here in Zürich as anywhere, and while Emily Magee is a bit mature as Tosca she has the appropriate diva-like manners and the role lies well for her.

I like Thomas Hampson´s elegant Scarpia, though he occasionally seems to lack a bit of bite. But rather refreshing seeing a production which avoids turning Scarpia into a monster.  

Carignani is on top of things in the pit and there is plenty to admire in this stylish production, though, at least for me, it is not the first choice.

Production trailer:

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

Jonas Kaufmann: 5

Emily Magee: 4
Thomas Hampson: 4

Robert Carsen´s staging: 4

Paolo Carignani: 4

Overall impression: 4

Zurich Tosca: Magee, Kaufmann and Hampson in (too) stylish Carsen production

Tosca. Zurich Opera, April 9th 2009. Production: Robert Carsen. Cast: Emily Magee (Tosca), Jonas Kaufmann (Cavaradossi), Thomas Hampson (Scarpia). Conductor: Carlo Rizzi. Further information here.

All the ingredients were there: As starry cast, a stylish director as well as a beautiful (and sold-out) auditorium. Nevertheless, the evening never really took off.

Canadian director Robert Carsen apparently was inspired by Cavaradossi´s remark to Tosca “like Tosca in the theatre” after she instructs him on how to play dead. Thus, his Tosca is a theater-in-the-theater production, a concept Robert Carsen has tried earlier with his Hoffmann´s Tales in Paris, and generally a more intellectually rewarding than emotionally thrilling staging concept. Furthermore, this apparently is not a new production, as it appears it has been seen earlier in Barcelona, though information in this regard is not exactly forthcoming from the Zurich Opera website or magazine (read: it seems to be non-existent).

Combined with the creation of stylized Hitchkock-Hollywood images, the result is a production, which emphasizes form over substance, unfortunately draining it of drama. The overly stylized movements by Tosca, artificially coordinated with the music beneath a moving spotlight during the confrontation with Scarpia virtually draws the tension out of this, the perhaps central scene of the entire opera, briefly reminiscnet of the extreme aesthetism of Robert Wilson.

In brief, we are in a theater. As Act 1 opens we look at an operatic theater from the back of the stalls – plenty of chairs, Cavaradossi decorating the auditorium, while the curtain (of the theater-within-the-theater) finally goes up under the Te Deum to display Tosca in full stage regalia. For Act 2 we move backstage to a smoking Scarpia beneath a large VIETATO FUMARE sign, staring at a large painting of Tosca. All in a very aesthetic mix of period costumes on a virtually bare (back)-stage.

Tosca is a stylized 1950´s hollywood diva. A superficial diva, who enjoys both the spotlight (literally) and the attention from Cavaradossi as well as Scarpia while distractedly looking at the programme notes of this evenings Tosca performance..Theatre within theatre indeed.

While Cavaradossi, the only genuine character in this set-up, is the real victim: Presumably intended to be younger than Tosca (he is in real life as well), he is the only one displaying genuine emotions in his unconditionally love for Tosca and sings about his loneliness to a pitch-black auditorium from the naked stage in Act 3, into which Tosca finally jumps with her audience now vanished. It is both aesthetic and stylish. However, compelling music theater it is unfortunately not.

Despite the presence of the undisputed leading Cavaradossi of the day in Jonas Kaufmann. What does he not have? Nothing it seems. In looks and acting, he is the perfect romantic hero. He even has that barytonal glow to his voice, which does make him push for the top (as Plácido Domingo always has), but has the benefits of gaining more punch to his interpretation.
Thomas Hampson´s lyric baritone does not, on paper, seem ideal for Scarpia, though he projects the dramatic lines of the part surprisingly well. As a villain, however, he does not convince, though I am not sure Scarpia is really intended as such in this production, rather as a man, fighting with another man over a woman.
The vastly underrated Emily Magee made her role debut as Tosca, and sings the part better than anyone I can imagine today, Karita Mattila apart. The lack of emotional connection with her character may probably mainly be attributed to Carsen´s approach of the work, and it would be interesting to see her in another production. At the Met, perhaps, where her debut has been more than overdue for about a decade?
Effective, though not overly detailed, playing from the orchestra under Carlo Rizzi.

An evening, where, unfortunately the sum was somewhat less than the individual parts put together.


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

Jonas Kaufmann: 5
Thomas Hampson: 4
Emily Magee: 4-5

Robert Carsen´s staging: 4

Carlo Rizzi: 3-4

Overall impression: 4

The alternative MET Anniversary Gala

I hereby present "The alternative Metropolitan Opera Anniversary Gala" introducing 10 top artists: 8 singers, 1 director and 1 conductor. All active today enjoying high-profile careers - everywhere else but at The Met. All artists have in common that they have never appeared at the Met, for more, or rather less, obvious reasons.

Artists known (at least to me) to make their debuts in upcoming seasons such as Miah Persson, Annette Dasch, Eva-Maria Westbroek, Nadja Michael etc. are excluded.

Anna Caterina Antonacci as Carmen:

Emily Magee as Gutrune in Götterdämmerung:

Veronique Gens as Donna Elvira:

Anne Schwanewilms as Carlota in Die Gezeichneten:

Anna Larsson in the Mahler 3rd symphony with Claudio Abbado:

Irene Théorin as Turandot:

Petra Lang as Venus:

Johan Reuter in Maskarade:

And the conductor Mariss Jansons with the director Martin Kusej in Lady Macbeth from Mtsensk:

DVD: Barenboim Bayreuth Meistersinger

Meistersinger. Director: Wolfgang Wagner. Bayreuth 1999. Cast: Robert Holl (Sachs), Emily Magee (Eva), Peter Seiffert (Walther), Andreas Schmidt (Beckmesser). Conductor: Daniel Barenboim. More information here.

This 1999-filmed Meistersinger was Wolfgang Wagner´s last production at the Bayreuth Festival as well as the last production Daniel Barenboim conducted here. A statement I hope to be able to revise, at least regarding Barenboim.

This is in fact fact one of Wolfgang Wagner´s better productions, though not exactly placing him among the great Wagnerian directors of history. The main problem is that Wolfgang Wagner is a very static director. Índividual direction of the singers and exploring the personal relations of the characters does not seem to interest him, and they all seem left to their own devices. That approach rarely makes for enticing theater. What makes this production vastly better than his preceeding Meistersinger production is the sets: Conservative, but aesthetic and very elegant, stripped of all superfluities. Almost exclusively white. Being modern, according to Wolfgang Wagner, means dressing Peter Seiffert in a combination of pink and red..No doubt that Wolfgang Wagner´s knowledge of his grandfather´s works is immense and vastly exceeds that of virtually any other living director. However, transmitting this knowledge to the audience as engaging theater he unfortunately has never been able to do.

Daniel Barenboim is superb as expected in Wagner´s most treacherous work: While Meistersinger may look relatively easy and straightforward on paper, it takes something special to make it lift off and reveal the depths of the score.
Among conductors alive today I have only heard Christian Thielemann and Daniel Barenboim truly pulling that off and this Meistersinger production offers the most direct opportunity to compare these two: Daniel Barenboim conducted it until 1999, Christian Thielemann took over in 2000, making his debut at the Bayreuth Festival (Thielemann´s Bayreuth Meistersinger is available from the broadcasts). Both are attentive to detail without loosing the bigger picture and both truly understand the structure of the work. Both are grandiose. Christian Thielemann is more glittering, Daniel Barenboim is more powerful, direct and engaged. But the major difference is the impression of narcissism, pathos and sentimentalism (all in the positive sense) one gets with Thielemann. Daniel Barenboim has nothing of that, which is why he ultimately wins. But it is a very close call.

Robert Holl´s Hans Sachs I genuinely do not care for: He is traditional, elderly, uninspired and unenergetic. Vocally, his voice is definitely not unpleasant and he is up to it, without aspiring to greatness though. Dramatically, less so. And the complete lack of chemistry with Emily Magee´s Eva is appalling. Her Eva, for once, is straight and unsentimental, rather a grown-up woman than an adolescent girl. While Peter Seiffert has a great voice and is without doubt among the very few top Wagnerian tenors of today, his stand-and-deliver acting and general appearance, as always, leaves me cold. Also Andreas Schmidt's Beckmesser, though well sung, doesn´t seem to come across to the (imaginary) audience (the Bayreuth DVDs are always filmed in front of an empty auditorium). Matthias Hölle in his rather short prime, is first rate as Pogner, dignified and well sung.

Is this the preferred Meistersinger on DVD? Before actually watching it, I would have expected it to be. However, I continue to place my money on the Schenk production from the Metropolitan Opera. And no: I am no fan of the endless row of undead Schenk-shows, but this Meistersinger, for once, is rather good.

Daniel Barenboim with the Meistersinger Ouverture:

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

Robert Holl: 3
Matthias Hölle: 4
Emily Magee: 3-4
Andreas Schmidt: 3-4
Peter Seiffert: 3

Wolfgang Wagner´s production: 2-3
Daniel Barenboim: 5

Overall impression: 3

New Salzburg Rusalka by Wieler and Morabito

Haus für Mozart. Salzburg Festival. August 20th, 2008. Production: Jossi Wieler and Sergio Morabito. Cast: Camilla Nylund (Rusalka), Piotr Beczala (The Prince), Emily Magee (Foreign Princess), Alan Held (Water Demon), Birgit Remmert (Jezibaba), Eva Liebau (kitchen-maid). Conductor: Franz Welser-Möst with the Cleveland Orchestra. Further information here.

Rusalka.

Despite the unconventional sauna cum brothel cum church setting, Wieler and Morabito in fact are rather conventional in their take on Dvôrak´s opera Rusalka, which premiered on August 17th at the Salzburg Festival. In essence, they emphasize the rather obvious duality of the story (the world of the prince vs. Rusalka) as done on several previous occasions, such as Robert Carsen´s Paris production.

The revolving sets of a pine-covered sauna approximation turned into a brothel with underwater images projected on the wall depicting Rusalka´s world. With the subsequent 180 degree rotation of the set we see the world of the Prince - a Christian church environment. Neither Rusalka nor the Prince belong in their respective societies.
Rusalka´s change into a human is symbolized by the shoes - from the swimming mermaid she turns into a stiff doll-like girl on far too high heels, clearly not belonging in the Christian environment of the Prince, who on the other hand happily roll on the floor with Rusalka to the horror of the wedding guests when she finally shows some emotion.
Another symbol is the toy cat, which Rusalka initially caresses before it grows into a giant cat probably symbolizing the pagean religion vs. Christianity angle. In the end, Rusalka throws the dead Prince away (I didn´t see what happened to the cross).
Ultimately, this production is not entirely successful, as these ideas, fine as they are, could have been transmitted to the audience with more clarity. In addition, in particular the Christian vs. pagean symbolism was handled rather heavy-handed. As a premiere without booing is no real premiere in Salzburg, the directors, of course, were booed. However, this production is entirely in line with previous work from the pair (such as their Ballo di Maschera in Berlin previously this season) and thus should not come as a surprise for anyone reasonably acquainted with recent trends in opera productions.

Finnish Camilla Nylund with the silvery soprano voice is an intelligent singer, who created a very fine Rusalka on her own terms: She never pushes her not particularly large and essentially lyrical voice and she is a very fine actress. Ideally, however she´d have more expressivity to her voice. She made a very fine contrast, dramatically as well as vocally, to Emily Magee´s Foreign Princess.
Lyrical tenor Piotr Beczala made a fine, lyrical Prince, a part he said he wouldn´t have accepted had Rusalka been performed in the larger Grosses Festspielhaus. Alan Held was a forceful Waterdemon and Eva Liebau also stood out as the kitchen-maid. Birgit Remmert seemed rather tame, perhaps intentionally, as Jezibaba. At this point I should probably comment on the czech interpretation of the protagonists, which I however will gladly leave to others.

Americans are loud. Is the Cleveland Orchestra also loud? was one of the intelligent questions Piotr Beczala was asked by an Austrian journalist. In fact they were not as they were very solid and sensitive. Exactly why Franz Welser-Möst received such massive applause I didn´t entirely understand either as they by no standards were spectacular conveying almost nothing of the sumptuousness of Dvôrak´s score.

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

Camilla Nylund: 4
Piotr Beczala: 4
Emily Magee: 4
Alan Held: 4
Birgit Remmert: 3-4
Eva Liebau: 4

Franz Welser-Möst and the orchestra: 3-4
Wieler/Morabito´s production: 3-4

Overall impression: 4

All photographs @ A.T. Schaefer on www. salzburgerfestspiele.at

DVD: Flimm/Barenboim with modern Otello from Berlin

Otello. Berlin State Opera 2001. Production: Jürgen Flimm. Cast: Christian Franz (Otello), Emily Magee (Desdemona), Valeri Alexejev (Iago). Conductor: Daniel Barenboim. Further information here.

For some reason Otello is very hard to update successfully from 15th century Cyprus. In that regard, Jürgen Flimm´s 2001 Berlin State Opera production celebrating the 100th anniversary of Verdi´s death is one of the most successful I have encountered.

The sets are both striking and original, based on abstract steel and glass structures, thematically focused on fire and water.

Apart from the Requiem, Daniel Barenboim is a rare conductor of Verdi, something that may change with his increasing commitment to La Scala. One would expect Barenboim to be excellent with Otello, which he is. Clarity, precision, explosiveness are keywords. And unsurprisingly: Rather slow.

While Christian Franz does not exactly kick Plácido Domingo into oblivion, he makes a reasonable effort communicates well enough as this far from heroic Otello. Except in the high register, which fails him exposing pitch problems as well. Emily Magee´s Desdemona is a strong woman, not a victim. Vocally she is rather straight-toned, lacking somewhat in both floating expressivity and dynamics. In comparison Valeri Alexejev makes a rather weak and wobbly Iago.

For a modern version of Otello, this is perhaps the best choice on DVD.

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

Christian Franz: 3
Emily Magee: 4
Valeri Alexejev: 3

Jürgen Flimm´s production: 4
Daniel Barenboim: 5

Overall impression: 4

Ariadne dies on Naxos

Ariadne auf Naxos. Zurich Opera House 2006. Production: Claus Guth. Cast: Emily Magee (Ariadne), Elena Mosuc (Zerbinetta), Roberto Saccá (Bacchus), Michelle Breedt (Composer), Michael Volle (Music teacher). Conductor: Christoph van Dohnanyi. Further information here.

For those familiar with Claus Guth´s staging of Nozze di Figaro in Salzburg 2006, it should come as no surprise that his Ariadne auf Naxos is to be taken very seriously. It is, in fact, a tragedy.

The prologue is acted out in front of a massive grey curtain, from which the singers appear and disappear. Theater within the theater... The blind music master tries to find his way around, the major-domo yells his orders from the balcony box and the Composer gets increasingly desperate and eventually shoots himself through the head. Though there are no decorations, it´s nevertheless very interesting and alive, due to the detailed and intelligent direction of the singers, all in modern dress.

The second act (the real play) takes place in a restaurant. In fact, the restaurant is an exact replica of the famous Kronenhalle restaurant, located a few blocks from the Zurich Opera House.This seemingly strange setting fits surprisingly well with Hugo von Hofmannsthal´s libretto. Ariadne is sitting alone at a table in the virtually empty restaurant waiting for her lover. The nymphs are servants. The dead composers ghost appears from time to time. Very fittingly, Zerbinetta is at another table having a party with her friends, trying to cheer Ariadne up. But Ariadne is inconsolable, and eventually commits suicide with an overdose of pills and sings her final duet with Bacchus as she is dying.

Emily Magee is simply a superb Ariadne. She has everything this part asks for: The looks, the acting skills and the necessary dramatic vocal expression as well as a beautiful tone. Probably the finest performance of her career.
Elena Mosuc isa wonderful Zerbinetta, fuller in tone than most of her colleagues, perhaps not so sharp in the coloratura, but dramatically convincing.
Michelle Breedt is dramatically perfect as the desperate Composer, though her voice is not particularly beautiful and tends to be shrill at times. Another fine performance from Michael Volle, this time as the blind music teacher.

The orchestra with Dohnanyi was quite forceful and energetic in accordance with Claus Guth´s interpretation: This is no Strauss light.

Presently the only modern Ariadne production available on DVD.
A most refreshing and intelligent approach from Claus Guth. Highly recommended.

The bottom line:

Emily Magee: 5
Elena Mosuc: 4
Roberto Saccá: 4
Michelle Breedt: 3-4

Claus Guth´s production: 5
Christoph van Dohnanyi: 4

Overall impression: 5

Wagner - five DVD recommendations for those who do not like (know?) Wagner

A reader has asked for a recommendation of three Wagner DVDs for those who do not like/know Wagner´s music. I will give five...

My main criteria for selecting these videos are simply those that I find provide the best introduction to Wagner´s music in relatively updated productions of a reasonable quality. Thus no Tristan, no Parsifal, no Ring, no vintage DVDs with historic singers. Comments and suggestions are, of course, most welcome.

A brief look at the attached videos may hopefully help to decide before buying..

1. The Flying Dutchman. Highly acclaimed production from Bayreuth 1985 by Harry Kupfer, who essentially sees the opera as Senta´s dream.

Final scene below with Simon Estes (Dutchman) and Lisbeth Baslev (Senta):

2. Lohengrin. Either 1) Konwitschny´s class-room staging from Barcelona Liceu in 2006. Very innovative Regietheater, where the opera takes place in a class-room, the protagonists being children. Definitely a fresh view on the work. To be honest, I do not like it, as it takes too much focus away from the music, but for those unacquainted with Wagner, it may serve as an entertaining introduction.

Lohengrin and Elsa´s wedding in the classroom (John Treleaven, Emily Magee and Luana DeVol):

or 2) the elegant Lohengrin choice: Lehnhoff´s production from Baden-Baden 2006 - my personal Lohengrin favourite, not the least because this features the incomparable Waltraud Meier as Ortrud.

Below - the confrontation between Ortrud and Elsa in front of the church (Waltraud Meier and Solveig Kringelborn):

3. Tannhäuser: David Alden´s modern, very aesthetic Tannhäuser production from Munich 1994.

Confrontation between Tannhäuser (René Kollo) and Venus (Waltraud Meier):

4. Walküre - Patrice Chéreau´s historic staging from Bayreuth 1976. Still the most moving version I have seen of this work. Perhaps my top-recommendation for introducing oneself to Wagners work...

Below: Confrontation between Matti Salminen (Hunding), Peter Hofmann (Siegmund) and Jeannine Altmeyer (Sieglinde):

5. For those not keen on modern productions: Meistersinger from The Metropolitan Opera 2001. The best "traditional" Wagner DVD on the market, to my taste. With Karita Mattila, James Morris, Ben Heppner and René Pape.

Scene from Act 3 in Hans Sachs´ living room :

The Konwitschny class-room Lohengrin on DVD: Higly recommended for those who do not like Wagner....

Lohengrin. Teatro Liceu, Barcelona. 2006. Production: Konwitschny.Cast: John Treleaven (Lohengrin), Emily Magee (Elsa), Luana DeVol (Ortrud), Hans Joachim Ketelsen (Telramund). Conductor: Sebastian Weigle. Detailed information here.

On several occasions I have successfully recommended this DVD to acquaintances, otherwise not appreciative of Richard Wagner´s work. They typically respond with "so much went on at stage, that we did not have time to get bored". Which is the exact reason for my general disapproval of this production: So much goes on on the stage, that I lose all perspective of the music. How can you concentrate on the music when Ortrud throws pieces chalk in Telramunds face in the back of a classroom? I have tried. Several times, in fact, having seens this production in the theater in both Hamburg and at the Royal Danish Opera, as well as on this DVD from the Teatro Liceu, Barcelona recorded in 2006.

According to Peter Konwitschny the concept of this production is the result of a thorough analysis of both libretto and music. In his opinion, the characters interact much like children, making it a logic step to stage this Lohengrin in a classroom.

Opens Act 1: We are in a class-room. King Heinrich is the teacher, Elsa is the model-pupil, Ortrud and Telramund throw chalk around in classroom. They tease Elsa, who hides in a closet. Lohengrin then arrives and they fight with wooden swords. But Lohengrin, in essence, is a grown man, and when he kills Telramund in the third act with a real sword, the children's world fall apart and they are suddenly forced to grow up - their confusion and insecurities laid bare on the open stage.

It is a well thought out concept indeed. And Konwitschny convincingly communicates his message to the audience, and I even got it the first time, which is far from always the case. Indeed, I am not averse to such experiments with Wagner. Nevertheless, I must admit to not liking this production, the main reason being that all the action on stage completely move the focus from the music to the theater. This staging tells a story in itself. I am not sure it is Lohengrin´s, but that is less important. What is more important is, that Wagner´s music does not seem to fit in here, or even be an important element in telling this story. Which probably explains this productions success with audiences otherwise not drawn to Richard Wagner´s works. But I´ll have to admit to knowing several people with great love for Richard Wagner´s works who also love this production.

The work receives a fine musical performance and the singers fit well into the production concept led by Emily Magee´s nice (and slightly irritating) Elsa, Luana DeVol´s naughty Ortrud and John Treleaven´s somewhat out-of-place (intended) Lohengrin. Sebastian Weigle conducts a fine performance, though the orchestra expectedly does not match Abbado´s Vienna Philharmonics on a competing DVD.

Unfortunately, Lohengrin is not particularly well represented on DVD. I personally prefer the Lehnhoff/Nagano Baden-Baden staging. But I may not be representative of most potential Lohengrin DVD buyers, since my interest in Lohengrin primarily lies with the Ortrud-Telramund scenes, where Waltraud Meier/Tom Fox are unbeatable in the Lehnhoff production.

For the more traditionally inclined, the Vienna production conducted by Claudio Abbado with Plácido Domingo and Cheryl Studer as Lohengrin and Elsa is musically superb, although the medieval staging is dark and sinister.

Confrontation in the class-room: Zurück, Elsa (Luana DeVol and Emily Magee):

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

John Treleaven: 2
Hans Joachim Ketelsen: 3-4
Luana DeVol: 4
Emily Magee: 4

Konwitschny´s staging: 2-3

Sebastian Weigle: 4

Overall impression: 3

New Peter Grimes on DVD: Superb Pountney production from Zurich

Peter Grimes. Zurich Opera 2005. Production: David Pountney. Cast: Christopher Ventris (Peter Grimes), Emily Magee (Ellen Orford), Alfred Muff (Balstrode). Conductor: Franz Welser-Möst. Further information here.

Director David Pountney really does get to the core of Peter Grimes as I see it: Not a drama of the changing of the sea or a specific English fisherman-village portrait, it is rather a universal story of someone being pushed out of a community, for whatever reason we don´t know, and which eventually breaks him. In the unchanging stylish sets, the people of the village are suspended on chairs in the air, literally looking down on, as a metaphor of condemning Peter Grimes. It is a cold world, with everyone looking after himself, even Balstrode plays with the prostitute-girls in Act 3 like the other hypocrites of the village.

Both Christopher Ventris and Emily Magee are exceptionally well-cast as Peter Grimes and Ellen Orford. Ventris brings both sympathy and ambiguity to the character, who is, also from Britten´s hand, ambiguous in his harsh working methods vs. his dreams of simple domestic happiness with Ellen.

And Pountney brings almost biblical pathos to the final scene - Orford and Balstrode sit on each side of the stage with the two dead boys in their lap, while Grimes delivers his monologue leaning toward a white pole (cross).

Well conducted, though not overly dense, by Franz-Welser Möst this DVD is highly recommended. Of modern versions, the only alternative is the 2008 production from the Metropolitan Opera, equally highly recommended.

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

Christopher Ventris: 4
Emily Magee: 4-5
Alfred Muff: 4

David Pountney´s staging: 4-5

Franz Welser-Möst: 4

Overall impression: 4-5

Salzburg Festival 2008: The programme is out and tickets are now available..

UPDATE July 2008: Detailed information on the 2008 Salzburg Festival opera programme including radio transmissions here.


The programme for the 2008 Salzburg Festival is now available online (as well as tickets..).

Highlights include:

Otello - new production by Langridge, cond. Riccardo Muti, singers a.o. Antonenko (O), Poplavaskaya (D) and Àlvarez (I)

Romeo & Juliette - w/Netrebko&Villazon

Don Giovanni - new production by Claus Guth, cond: Billy, Don G: Christopher Maltman

Duke Bluebeard´s Castle - new production by Simons, cond. Eötvos, w/Struckmann, De Young

Rusalka - new production by Wieler/Morabito with Camilla Nylund and Piotr Beczala

The Magic Flute - Repremiere of Audi´s staging

As usual various concerts and recitals with a.o. Vienna & Berlin Philharmonics, Daniel Barenboim, Pierre Boulez, Kryzstian Zimmermann, Maurizio Pollini, Vesselina Kasarova, Elina Garanca a.o. - more info on the Festival website here

Muti will conduct "A german requiem" and Esa-Pekka Salonen will conduct Mahlers 3rd Symphony, both with the Vienna Philharmonics.

Simon Ratttle will conduct Messiaen´s Turangalila Symphony with the Berlin Philharmonics.

Gustavo Dudamel and the Símon Bolívar Youth Orchestra will be orchestra in residence.

The London Warner/Pappano Ring: Götterdämmerung

Götterdämmerung. Royal Opera House, Covent Garden. November 2nd, 2007. Production: Keith Warner. Cast: John Treleaven (Siegfried), Lisa Gasteen (Brünnhilde), Kurt Rydl (Hagen), Peter Coleman-Wright (Gunther), Emily Magee (Gutrune), Mihoko Fujimura (Waltraute), Peter Sidhorn (Alberich). Conductor: Antonio Pappano.

Somewhat surprisingly, Keith Warner doesn´t seem to tie the loose ends together in this Götterdämmerung. In the array of directors, from whom Keith Warner seems to have been inspired, Tankred Dorst of the recent Bayreuth Ring may now be added as their Götterdämmerungs looked remarkably similar on several points, such as presenting a Gibichungen Hall with a large white sofa and golden statues of the old norse, which are set on fire at the end with modern-clad people as spectators.
The white door wall from both Walküre and Siegfried serves as backdrop for the Norns as well as a suspended floor for several of the Gibichungen scenes. Perhaps not a particularly original concept from Warner, but neither a boring one.

Since it´s quite obvious that John Treleaven gives everything he has as Siegfried, I´ll cut him some slack and refer to the Siegfried post for further details. And while Lisa Gasteen displayed a beautiful steady voice (top-notes apart) in large parts of the opera, the chemistry between her and Siegfried simply was not there.
What worked, in fact, was the three Gibichungen: Peter Coleman-Wright as probably the best Gunther I have seen on stage. Emily Magee as a superbly acted Gutrune, who unfortunately often was off-pitch. And Kurt Rydl as an exceptionally fine Hagen: Superb acting and steady voice. He obviously had a very good evening and clearly the best individual performance of the evening. Extraordinarily beautiful singing was delivered by Mihoko Fujimura, though virtually devoid of drama. The Norns were fine, included rising-star Marina Poplavskaya, as was the chorus.

Antonio Pappano continued his brisk, light-headed conducting, which somehow didn´t quite come out as well here as in the other installments, though the majority of the audience seemed to disagree with me based on the endless cheering. Standing ovations from the entire auditorium, however, was reserved for Sir John Tomlinson, who joined in at the curtain calls wearing a suit.