Katharina Wagners Meistersinger: A winner on DVD

Meistersinger. DVD. Bayreuth Festival 2008. Production: Katharina Wagner. Conductor: Sebastian Weigle. Dast: Franz Hawlata (Hans Sachs), Michael Volle (Sixtus Beckmesser), Michaela Kaune (Eva), Klaus Florian Vogt (Walther Von Stolzing), Norbert Ernst (David), Carola Guber (Magdalene), Artur Korn (Veit Pogner), Markus Eiche (Fritz Kothner), Friedemann Röhlig (Ein Nachtwächter).

I remember very well this production, the first I saw in the BayreuthFestival house in 2007. Arriving at the last minute, I squeezed into my hard seat on the 25^th row followed this spectacle, which had opened a few weeks earlier, to almost universal criticism.

For some reason, Meistersinger normally receives a very traditional treatment even by directors otherwise renowned for inventive staging. Perhaps it was the depart from this “traditionalisation”  that made many criticise Katharina Wagner´s staging? Or perhaps the fact that the succession (to Wolfgang Wagner as Festival Director) at that time was very much debated, and that she, as his grand-daughter was judged as much politically as artistically? I, for one, remember having seen dozens of negative comments related to this staging from people who had not even seen it at the time. Anyway I found at the time, and I still find now, that this staging is more than interesting, and the DVD with the frequent use of close-up, provide myriad of details, which were impossible to notice from the 25^th row in the house. Especially the last 45 minutes are quite extraordinary, presenting a daring and entirely novel interpretation:

To truly enjoy this staging you will probably need to accept/agree that this opera is an allegory of changes in society; about how society reacts to change and how much change it can accept:

In Act 1 we are in a 19^th century brotherhood of sorts: Traditionally clad “meistersingers” sit around the table, reading small yellow books of German classics. At that time, Sachs, barefoot, is a slightly controversial outsider. But not nearly as controversial as the modern-dress Walther, who sprays paint on everything and everybody. Not a singer, but a painter, the point is driven through, by him assembling a puzzle of Nürnberg all in disorder compared to Beckmessers perfectly assembled Nürnberg puzzle.

In Act 2, the sullen Eva hangs around what looks like an East-German Canteen in the 1950´s, where Sachs sits with his typewriter in the corner. In the only hint at shoemaking, sneakers seem to be dropping from the sky and all ends in an orgy of paint-throwing.

The real stuff begins in Act 3: Now Beckmesser is suddenly the outcast with his T-shirt “Beck in Town” and finds himself in Sach´s fancy apartment, where the heads of the old German masters (Brahms etc.) dancing in the background. Sachs, with his elegant suit, is now constructing a neat idealised family-concept literally within the frames of a doll-house for Walther and Eva to be filmed in. How come this sudden change? Then, in the choral scene preceding the “wach auf”, Sachs is captured and tied to a chair by these heads while they, often clad in underwear, perform a weird dance and Eva blindfolded walks amidst them. What is going on here, seriously? Next however, Katharina Wagners master-stroke begin in earnest with an eerie scene in which Sachs´s helpers capture a stage director and conductor, putting them in a coffin, starting the fire to burn them exactly at the “wach auf” in a scene reminiscent of the Nazi epoque. Very strong theater, indeed. Et voila, what comes out of the coffin? A golden calf it seems. When a model of the auditorium emerges from under stage, we the audience are double spectators to Walther bringing home a check of 10.000 from the Nürnberg Bank, while Beckmesser now is an outcast.

The staging requires a familiarity with German culture, both ancient and present, that I perhaps do not have and there are myriads of details to discover here, as the pace is furious, especially in the third act.

To summarize, Sachs and Walther essentially submit to conformism while Beckmesser moves in the other direction. 

No, Katharina Wagner does not have all the answers and admittedly the staging of the first act seems a bit heavy-handed. But then again, the first act is really long and not for the first time do I wish Wagner would have lived to revise (read: shorten) it, though I have no idea if he ever thought about that and anyway, if he had lived any longer his next project (after Parsifal) would probably have been a revision of Tannhäuser (needed as well).

More singers stand out on the DVD than I remember from the live performance, especially Franz Hawlata, underpowered in the theater but not here, taking fully advantage of the close-ups for us to see his detailed and impressive acting.

Walther really is a super role for Klaus Florian Vogt, probably his best role together with Lohengrin and Michael Volle also leaves nothing to be desired. As for the rest nobody was exceptional, one way or the other, though admittedly Michaela Kaune was vastly better than the Amanda Mace I saw the year before.

Katharina Wagner presents with the only production on DVD truly departing from medieval Nürnberg and trying to wrestle with this issues. For this alone, this is a must-see.

Trailer for the DVD:

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

Franz Hawlata: 4

Michaela Kaune: 3-4

Klaus Florian Vogt: 5

Michael Volle: 5

Norbert Ernst: 4

Carola Guber: 4

Katharina Wagner´s production: 4-5

Sebastian Weigle: 4

Overall impression: 5

Thielemann Rosenkavalier with Fleming, Damrau, Koch and Kaufmann

Rosenkavalier. DVD. Baden-Baden 2009. Production: Conductor: Christian Thielemann. Cast: Renée Fleming (Marschallin), Sophie Koch (Octavian), Diana Damrau (Sophie), Franz Hawlata (Ochs), Jonas Kaufmann (A Singer).

This production has so many things going for it and yet somehow it narrowly misses the mark.
First of all, Herbert Wernicke´s production is wonderful: First seen in Salzburg 1995 and later in Paris, it is visually superfluous and sumptuous making use of a back wall of rotating mirrors. Traditional in outlook, Wernicke simply tells the story in a seemingly timeless manner.
Renée Fleming is the Marschallin. Or as I originally intended to write: Renée Fleming is Renée Fleming. There is too much Renée Fleming in her Marschallin or perhaps too little Marschallin in Renée Fleming. Word games apart, this is not among her best roles in my opinion. Somehow she seems to artificial, too mannered and not sophisticated enough in her portrait. There is a subtle balance to the Marschallin and she does not nail it. Disappointing, since I have seen her give wonderfully committed performances in this repertoire. But extra points to Ms Fleming for giving interviews in German.

Sophie Koch, somewhat miscast being too feminine in both expression and singing and with too much vibrato especially in the higher register, her weakest, where a lot of the notes are. A wonderful Charlotte is rarely a wonderful Octavian. Diana Damrau sings beautifully, but she has really moved on from Sophie. Quite a few sopranos aged below 30 could have pulled of the same in addition to portraying a young and innocent Sophie, which Damrau does not.
And Franz Hawlata, in his second Rosenkavalier DVD lacks the crudeness and (most importantly) the deep notes.

Not to forget to mention Jonas Kaufmann´s brief appearance as the tenor.

Christian Thieleman is a superb Straussian Thielemann, but he conducts Rosenkavalier as he does Die Frau Ohne Schatten: Grandious, serious, transporting. Where are the bubbliness and the walz rhythms?

Renée Fleming and Sophie Koch in Act 1:

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

Renée Fleming: 4
Sophie Koch: 3-4
Diana Damrau: 3-4
Franz Hawlata: 3

Wernicke´s staging: 5
Christian Thielemann: 4

Overall impression: 4

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

Stefan Herheim abducts the abduction

Die Entführung aus dem Serail. Salzburg Festival 2006. Production: Stefan Herheim. Cast: Laura Aikin (Konstanze), Valentina Farcas (Blonde), Dietmar Kerschbaum (Pedrillo), Charles Castronovo (Belmonte), Franz Hawlata (Osmin). Conductor: Ivor Bolton with the Mozarteum Orchester Salzburg. Futher information here.

The expression hijacking of an opera has never been more true than in Stefan Herheim´s 2003 production of Entführung, filmed at the celebratory 2006 Mozart Salzburg Festival. It caused a genuine scandal at the opening in 2003 and what Stefan Herheim did to this opera, I simply did not imagine was allowed on a major stage like Salzburg. Without doubt, one of the most controversial opera productions I have seen. But also a very fine and interesting one. Mainly since Stefan Herheim has two qualities that sets him apart from most of his colleagues of the deconstructive school of opera directors: He tears down, but with a purpose as he also recreates. And, the production is very stylish. That apart, he seems to be able to clearly communicate his ideas to the audience.

The music is Mozart´s. The recitatives are new. The story is completely new. Die Entführung is completely deconstructed. There is simply no real action. Bassa Selim is written out. In modern costumes we are presented with a line-up of scenes exploring the relations between men and women, accompanied by Stefan Herheim´s newly written dialogue. And his view is bleak: From the quasi-rape scene between Blondchen and Pedrillo and the dancing around the wedding cake to paralysis and jealousy. There is absolutely no relation with the traditional Die Entführung except the music.

A brilliant idea as such - especially as I find the orginally envisioned Turkish harem-story nightmarish. However, those happening to like this Turkish nightmare may feel otherwise.

The sets are very simple mainly consisting of the interior of a house with Freudian video projections on the back stage wall.

The most radical and innovative approach to any staging I have seen since I cannot remember when. Not necessarily a good thing. But in this case, it is.

And the singers: Especially Franz Hawlata, Valentina Farcas and Charles Castronovo seemed well-suited to this concept and were vocally outstanding as well, Laura Aikin somewhat less so.

Ivor Bolton conducted an inspired performance of the Mozarteum Orchestra.

Valentina Farcas "Durch Zartlichkeit":

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

Laura Aikin:3
Franz Hawlata: 5
The rest: 4

Ivor Bolton:4

Stefan Herheim´s production: 5

Overall impression: 5

Bayreuth 2008 Meistersinger - great success for free public live transmission in revival of Katharina Wagner´s controversial staging

Approximately 38.000 turned up for the free live transmission of Sunday´s performance of Katharina Wagner´s Meistersinger from the Bayreuth Festival to a public square in Bayreuth - undoubtedly helped by the spectacular weather as well.

Opinions of the success of the not exactly free online streaming seemed to vary (I opted out of buying a ticket since the weather was spectacular and I saw this production live in Bayreuth last year). This Sunday July 27th performance is NOT the one to be released on DVD later this year, which was recorded before the Festival started.

Selected impressions of the 2008 Meistersinger revival:

Associated Press: "Whether you love it or hate it, there's no denying that there's never a dull moment in Katharina Wagner's uproarious production of "The Mastersingers of Nuremberg",, "Katharina's staging of Wagner's only comic opera is hugely entertaining and has some bright and striking ideas".

Frankfurter Allgemeine: "Bayreuth is pop and Katharina Wagner is the princess" .."the staging tends to be too explicit".

Abendzeitung: Praising Katharina Wagner´s detailed work with the singers especially Michaela Kaune and Klaus Florian Vogt.

Netzeitung: "The Bayreuth audiences are still divided over this staging"

Based on the radio transmission: Sebastian Weigle was fine, though not exceptional, with a rather placid reading without the contrapuncts making this score really exciting. Futhermore the coordination with the singers was rather shaky during the ensembles. Best among the singers were Michaela Kaune (Eva), Klaus Florian Vogt (Walther) and Michael Volle (Beckmesser). Franz Hawlata is not a bad Sachs, but seems rather stretched by the part.

Renée Fleming Rusalka DVD

Rusalka. Paris Bastille Opera 2002. Production: Robert Carsen. Cast: Renée Fleming (Rusalka), Larisa Diadkova (Jezibaba), Eva Urbanova (The foreign princess), Franz Hawlata (Water Spirit), Sergei Larin (The Prince). Conductor: James Conlon. Further information here.

For a DVD recommendation of Rusalka, this is an easy choice being the only version available in the original czech language.

The storyline in brief: Rusalka, a water nymph, falls in love with a mortal Prince. To marry him she has to give up speech, and furthermore she will have to return to the un-dead, should her Prince reject her. Which he does, attracted by a Foreign Princess. The Prince then regrets this unlucky choice and returns to Rusalka, now an un-dead water nymph, eventually choosing to die in exchange for a kiss. Except that in Robert Carsen´s staging the ending is a happy one, in which the the Prince and Rusalka are united.

Robert Carsen´s very beautiful (as always) production emphasizes the duality of the mortal and fairy-tale worlds. In Act I, the stage is vertically symmetrical, reflected from the bottom of the enchanted lake. In Act II, the symmetry of the set is left-right within the palace of the Prince, applying body doubles as well.
Though the main concept thus is relatively clear, explanatory notes by Robert Carsen nevertheless would have been much appreciated. But potential buyers may note, this is not a traditional setting. Nor is it wildly experimental, though.

The almost Wagnerian power of Dvorak's score is convincingly conveyed by James Conlon.

Futhermore, the cast is virtually ideal, both vocally and dramatically, with no weak links: Sergei Larin has the necessary heft as the Prince, though he comes off rather stiff on stage. Eva Urbanova is almost frightening as the dominating Foreign Princess, Larisa Diadkova is a demonic Jezibaba, Franz Hawlata a noble Water spirit.

And finally Renée Fleming as Rusalka, one of her best roles. She is in splendid voice and whether or not one cares for her particular style of singing (more mannered than in her earlier years, but less mannered than she can be), her portrait of Rusalka is genuinely moving and of an artistic depth that stays with the viewer for quite a while.

Strongly recommended.

The only alternative to this DVD is David Pountney and Mark Elders English language version from the English National Opera 1986, which I cannot recommend.

Renée Fleming: Song to the moon

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

Renée Fleming: 5
Larisa Diadkova: 5
Eva Urbanova: 4-5
Sergei Larin: 4
Franz Hawlata: 4

James Conlon: 4
Robert Carsen´s production: 5

Overall impression: 5

Calixto Bieito Wozzeck on DVD

Wozzeck. Teatro di Liceu, Barcelona 2006 (released 2007). Production: Calixto Bieito. Cast: Franz Hawlata (Wozzeck), Angela Denoke (Marie). Conductor: Sebastian Weigle. More information here.

Directed by the (in)famous exponent for advanced Regietheater, so-called enfant terrible Calixto Bieito, this DVD will probably divide potential audiences along the usual imaginary line: Those who find it an interesting approach to the work and those who simply hate it. I am clearly rooted in the first camp. Yes, we do se both naked bodies and necrophilia on stage, but to dismiss the staging on these grounds alone equals the same disrespect for Calixto Bieito as those applying it accuse him of showing Alban Berg.

Bieito´s visually stunning production sets the story in a grim postindustrial environment, quite literally in the basement of a factory, covered with pipelines continuously exuding poisonous smokes. Wozzeck and Marie belong to the working class. They live between these pipelines and their child needs an oxygen tank with face mask to be able to breath in this lower class environment of dirt and fumes.

Upon embarking on her affair with the Tambour major, the ambitious Marie moves upwards in society to the glamorous dresses and quite literally to the upper-floor of the factory, where the air is clean. The necrophiliac element in the staging is attributed to the Doctor, and the nudity is represented by the workers, who undress in the last scene (exactly with what purpose I am not sure…). Overall, Bieito, in my opinion paints a grim picture of a sick and divided society and provides with an interesting take on the work.

Franz Hawlata is vocally a fine Wozzeck and a good actor as well, very believable as the naive worker. Angela Denoke is essentially a lyrical Marie, but as a character she is cold and opportunistic here.

I have some concerns regarding the orchestra, with the rather unspecific, and perhaps unfair, impression that Sebastian Weigle does not bring out the maximum of nuances and power in Alban Berg´s music, sounding slightly muffled.

For those preferring a traditional production, I´d recommend the Claudio Abbado-conducted Wozzeck from the Vienna State Opera, brilliantly conducted with myriads of nuances, a realistic staging, which will offend no-one and with fine protagonists, especially the superb Doctor from Aage Haugland. Alternatively on DVD, there is Patrice Chéreau´s staging from Berlin conducted by Daniel Barenboim with Waltraud Meier as Marie.

Promotional video here:

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

Angela Denoke: 4
Franz Hawlata: 4
Bieito´s staging: 5
Sebastian Weigle: 3-4

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

Capriccio: All shine in elegant Paris production

Capriccio. Paris Palais Garnier 2004. Production: Robert Carsen. Cast: Renée Fleming (Countess), Dietrich Henschel (Count), Anne Sofie von Otter (Clairon), Rainer Trost (Flamand), Gerald Finley (Olivier), Franz Hawlata (La Roche). Conductor: Ulf Schirmer. Further information here.

Whether one actually likes Capriccio or not, I find it hard to argue against this close to ideal production by Robert Carsen set in the elegant Palais Garnier in Paris 2004.

A theater within the theater production transferring the action to the time of the composing of the opera (1941), though the Nazi presence is very small in this very elegant look into upper-class Parisian lives at the time. Perfectly suited for DVD, the action is played out at parts before an empty auditorium with the Countess and her brother as spectators from the balcony. At other points it seems a genuine live performance.

Everything in this production just oozes elegance: Carsens staging is accompanied by the equally elegant and sophisticated conducting from Ulf Schirmer.

And the singers are simply first-rate over the entire line: First of all, obviously, Renée Fleming as an entirely convincing Countess. Whatever one may feel about Renée Flemings vocal technique, including her heavy use of portamento, her Countess is both vocally and dramatically entirely convincing and is on par with the greatest in the discography.

Virtually all the others stand out as well, beginning with Anne-Sofie von Otter as a slightly mad Clairon, Franz Hawlata as a not overly ridiculous La Roche, Gerald Finley as a half-desperate Olivier, Rainer Trost as Flamand and Dietrich Henschel as a rather confused Count.

One of the finest DVDs on the market, though traditionalists may prefer the only alternative on DVD, from the San Francisco opera with Kiri Te Kanawa and conducted by Donald Runnicles, in a completely traditional staging (read: including plenty of dust). While this musically is not a bad choice, I find Renée Fleming clearly superior to Te Kanawa as well as von Otter to Troyanos.

Renée Fleming in the Final Scene:

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

Renée Fleming: 5
Anne Sofie von Otter: 5
Dietrich Henschel: 5
Gerald Finley: 5
Rainer Trost: 5
Franz Hawlata: 5

Robert Carsen´s staging: 5

Ulf Schirmer: 5

Overall impression: 5

Bayreuth 2007: Katharina Wagner´s Meistersinger

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Meistersinger. Bayreuth Festival 2007. Production: Katharina Wagner. Cast: Franz Hawlata (Hans Sachs), Klaus Florian Vogt (Walther v. Stolzing), Michael Volle (Beckmesser), Amanda Mace (Eva). Conductor: Sebastian Weigle.

Don’t attend the Bayreuth Festival simply to have fun, drink beers with your friends and listen to good music, because nobody else does. Wagner in Bayreuth is serious stuff and tensions ran high in the Meistersinger audience even before the curtain was up as audiences greeeted The Festival representative announcing the partial indisposition by Franz Hawlata due to back pain with aggressive mumbling.

In many ways, Meistersinger may be the most difficult of Richard Wagners operas to stage, not at least due to the many ambiguities: Is it a comedy? A tragedy? Is Beckmesser a comical figure? Or is he evil? Or maybe even a hero? And it is obviously more challenging to import t an authentic 15th century Nürnberg cobbler into a modern semi-abstract staging, than it is with Gods and Giants.

Since the re-opening of the Bayreuth Festival in 1951, Meistersinger has been staged twice by Wieland and three times by Wolfgang Wagner, both very keen on clearing the work from nationalistic tendencies, emphasizing either the historical context or the caricature elements of the work (Wieland) or the down-to earth elements (Wolfgang). Katharina Wagner joins this tradition and is primarily interested in the socio-politic aspects of the piece as opposed to the love story between Eva and Walther.

The outline of the production is as follows:

The Meistersinger are governors of a traditional art academy, placed around a wooden table while guarding the sacred flame. The apprentices are students. The main concept seems to evolve around the idea that destruction of these traditions is necessary for society to develop.
The question then is: With what are these values replaced?

Hans Sachs is the outsider, a typist, chain-smoking in bare feet. Initially Walther, a painter, is the rebel, aggressively splashing paint aimlessly around when not painting “Eva” on sculptures. He quite literally turns things upside-down, such as paintings of Nürnberg and clearly is infatuated by himself. More than by Eva, anyway.

The ideals of the Meistersinger, represented by grotesquely oversized masks and figures of Goethe, Schiller, Bach, Wagner and other German icons dancing naked around, are cast down by Hans Sachs. Sachs also burns doublets of both a conductor and stage director. Subsequently, however, both Walther and Sachs undergo a development from rebels to conformists and conservatives, while Beckmesser on the other hand turns into an angry rebel. Walther changes from paint-splashing rebel to conform family father in a screen-show set up by Hans Sachs in which Beckmesser seems the only authentic participant with his rebellious guitar-accompanied song.

The Bayreuth audience is placed on a secondary stage as witnesses. In Hans Sachs´ infamous “deutsches volk” phrase (which made Konwitschny famously stop the piece in Hamburg) an oversized male statue appears on stage – probably to display the irony of the quotation. In summary, conformity and conservatism is replaced by conformity mixed with more than a touch of cruelty. As I see it.

First of all: I fail to see any major controversy in this staging. Obviously, when compared to the relatively conventional production by Wolfgang Wagner preceding this one, Katharina Wagner´s staging is closer to the Regietheater school than previously seen in Bayreuth and closer to the likes of Konwitschny and Marthaler (though I fail to see the often-quoted similarities between her and Schlingensief) than to her father.

Secondly: There is much good to be said on this production, which I thought had many fine points. However, a bit more discipline in the presentation of the ideas would make them stand out more clearly. A lot is going on at stage simultaneously. But she proved herself a talented, though not fully developed stage director.

Vocally, the evening was largely disappointing. Franz Hawlata´s is a great actor, but Hans Sachs is far too challenging for him vocally. Also Eva was undercasted with a shrill-sounding, non-acting Amanda Mace. Klaus Florian Vogt was in excellent voice as Walther (replacing Robert Dean Smith, who withdrew due to artistical differences). Furthermore he is definitely not a wimp and looks rather good, though in an eerie way. Rather odd, the entrance of Vogt´s Walther playing piano in tennis shoes is an exact copy of a scene in the Baden-Baden 2006 Lohengrin production.

Best of the singers was Michael Volle, with an excellent characterization of Beckmesser.
Unfortunately Sebastian Weigle´s reading was rather unexciting. The prelude started well, but the rest of the piece didn´t seem to flow.

Extended audience applause after Hans Sachs literally put Eva, Walther, David and Lena into two frames. And scattered applause after his monologue as well, something I have never experienced this before – and then in Bayreuth of all places..

I would say the booers just won over those shouting bravo at curtain call, Katharina Wagner seemingly unfazed at her solo curtain call.

These signs were displayed all over the Festival House, though I am not sure why: