Elektra on DVD - Thielemann, Watson, Uhl

Elektra. DVD. Baden-Baden 2010. Production: Herbert Wernike. Conductor: Christian Thielemann. Cast: Linda Watson (Elekta), Manuela Uhl (Chrysothemis), Jane Henschel (Klytemnestra), Albert Döhmen (Orest), René Kollo (Aegisth).

A setting seemingly fit for a Greek tragedy: The singers are under constant spotlights on an otherwise practically empty stage, continuously addressing themselves to the audience and never to each other. Stage design: Red vs. black, geometric shapes. Not at all an ineffective concept, but one that requires great stage presence of the singers to fill out these spotlights, which two (of the four protagonist) do well. Obviously, interpersonnel relations are not a focus in a production in which the singers deliver monologues to the audience. On the other hand it does render a certain perceived authenticity (fake or not) to the production.

Deceased in 2002, Herbert Wernicke obviously is not associated with revival (Bettina Göschl is) of a production originally seen at the Bavarian State Opera.

This production represented Linda Watson´s debut as Elektra as she filled in at the last minute for Katarina Dalayman (good choice Katarina, you are still in your prime and it will ruin your voice! - I know you have sung it later in Stockholm though....). Linda Watson is not bad at all as Elektra, but she suffers the same problems as most of her predecessors/contemporaries in this role: By taking it on very late in her career and well after her prime, she has difficulty meeting the vocal challenges as well as the bloom in her voice has diminished vastly. In addition she is a rather large woman and neither young nor youthful, nor gifted with a very compelling stage presence.

Albert Döhmen is neither particularly good nor particularly bad, him also past his prime.

And the two singers who fill out  their role in the spotlights well: Manuela Uhl a touching, and radiantly looking, though vocally less radiant Chrysothemis and Jane Henschel with demonic Klytemnestra in the tradition of Astrid Varnay. Also a good performance from René Kollo in the small role of Aegisth.

ChristianThielemann is wonderfully broad and expansive with more Rosenkavalier and Frau Ohne Schatten in Elektra than I have ever heard before. 

Though not a bad DVD as such, in recent years we have seen the release of several performances of Elektra superior to this one, such as from the Vienna StateOpera 1989 (Kupfer/Abbado), Zurich Opera 2006 (Kusej/Dohnanyi) and Salzburg 2010(Lehnhoff/Gatti).

Elektra trailer:

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

Linda Watson: 3-4
Manuela Uhl: 3-4
Jane Henschel: 4
Albert Döhmen: 3
René Kollo: 4

Wernicke´s production: 4
Christian Thielemann: 5

Overall impression: 4

parsifal sinopoli

Parsifal. DVD. Bayreuth 1998. Production: Wolfgang Wagner. Conductor: Giuseppe Sinopoli. Cast: Poul Elming (Parsifal), Hans Sotin (Gurnemanz), Linda Watson (Kundry), Ekkehard Wlaschiha (Klingsor), Falk Struckmann (Amfortas), Matthias Hölle (Titurel).

It seems that with this release the Bayreuth Festival has concluded the release on DVD of previously recorded Bayreuth Festival productions. This present Parsifal release of Wolfgang Wagner´s production was filmed in 1998. The production itself premiered in 1989 and ran from 1989-2001. The preceding centenary Parsifal production by Götz Friedrich (1982) was not filmed, however the production preceding that production (1975) was also staged by Wolfgang Wagner and released on DVD (filmed in 1981). From a purely directorial point of view, the differences between these two productions are not staggering. 

Of Richard Wagner´s two grandsons, Wieland and Wolfgang, it was Wieland, who innovated post-war operatic productions with his “New Bayreuth” style of abstract, geometric stagings often involving “triangles of tension” between the characters. Wolfgang adhered more or less to the same principles, which have not been significantly renewed since Wielands death in 1966. Fully aware of his own limitations, Wolfgang however, facilitated the transformation of opera from static stagings into the present days dynamic theatre, by inviting several of his times most innovative/controversial stage directors to Bayreuth, such as Patrice Chéreau, Götz Friedrich and Harry Kupfer. One of his most controversial invitations was sent to Christof Schlingensief, who was responsible for the Parsifal production following the present one in Bayreuth 2004, which I had the luck tosee in 2007. Considering what came before, no wonder the audiences were outraged with by Schlingensief´s eclectical view of the work. 

Back to the present DVD, which is a re-re-re-staging of outdated “New Bayreuth” geometry and has not aged well with time. Danish tenor Poul Elming (Parsifal) once said in an interview, that when Wolfgang Wagner directed an opera he was not at all interested in practical issues, such as how the singers should move etc., but worked at "another level altogether" and more or less expected the singers to figure these things out themselves. Needless to say, this is not a good recipe for engaging theatre.

Linda Watson´s Kundry is caught in her prime, with a beautiful middle voice and nice projection, though not a natural actress, she probably was not helped by Wolfgang Wagner´s lack of directives. Poul Elming, whose Parsifal is already available with Barenboim and who is very much a physical singer does not fully come to his right here, whereas Falk Struckmann and Ekkehard Wlaschiha both are in super shape. Hans Sotin compares well with his previous Gurnemanz, with a sonorous bass, capable of infusing life into his longue monologues, in the operas biggest part.

Best is Giuseppe Sinopoli, with a relatively straightforward, though still expansive and beautiful reading. 

And trust me, as I have been there: To hear/see Parsifal in Bayreuth is an experience entirely unmatched. Written for the Bayreuth stage, the covered orchestra pit creates an entirely unique sound pattern, downplaying orchestral explosions for a more expansive crystalline sound. Hard to describe, but quite easy to identify, from DVD productions as well.

This release may primarily be of interest for those specifically interested in Bayreuth history and/or Richard Wagner´s work and/or Giuseppe Sinopoli and who plan on owning several versions of Parsifal. Barenboim´s version with HarryKupfer´s abstract sets still tops the list. For those wanting something more traditional, James Levine´s Met Opera version is not at all bad either.

From Act 3:

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

Poul Elming: 4
Hans Sotin: 3-4
Linda Watson: 3-4
Ekkehard Wlaschiha: 4
Falk Struckmann: 4

Wolfgang Wagner: 2
Giuseppe Sinopoli: 4

Overall impression: 2

Copenhagen: Die Frau Ohne Schatten

Die Frau Ohne Schatten. Copenhagen Royal Opera, March 10th 2012. Production: Kasper Holten. Conductor: Michael Boder. Cast: Marion Ammann (Kaiserin), Johnny Van Hal (Kaiser), Johan Reuter (Barak), Linda Watson (His Wife), Susanne Resmark (Amme), Henning von Shulman (Messenger).

This production marked the ending of Kasper Holten and Michael Schønwandt´s 11-year tenure as artistic resp. music director at the Royal Danish Opera when it opened last Spring. And considering the massive problems with budget cuts which recently led to the resignation of newly appointed artistic director Keith Warner and music director Jakub Hrusa (neither has been replaced yet), Holten and Schønwandt certainly chose the right moment to leave. Especially Kasper Holten, who moved to the London Royal Opera House.
In any case, Kasper Holten certainly ended his tenure with perhaps his best production to date: A visually arresting production, with ample use of video projections tells the story of the two couples, who cannot have children, in a relatively straightforward manner. Entertained from start to end, a major feature is the vertical division of the stage into several chambers, thus showing several pieces of action simultaneously. A concept also used to great effect by Dmitri Tcherniakov in his Munich staging of Khovanschchina. With video projections helping to establish the moods: A tear, a sleeping pill dissolved in a glass of water etc. There is hardly a dull moment in this production, a great relief after having seen Christof Loy´s immensely boring production in Salzburg last summer.
The orchestra received rave reviews last year with Michael Schønwandt. Now, the conductor is Michael Boder, and yes, the orchestra plays well, and nuanced but with Christian Thielemanns mightly Vienna Philharmonics very present in memory it is hard to give them 5-stars. That said, Boder seems to have difficulty grasping the overall structure of the piece.
As for the singers, Johan Reuter is simply the best Barak I have ever heard with a wonderful warm voice, and such a welcome change to have a singer in his prime for this part. Equally a strong turnout for Linda Watson, who still has a very beautiful middle register, which is where most of her part lies. In comparison with her, Susanne Resmark seemed somewhat bleak. Marion Amman, a late substitution for Ann Petersen, was no more memorable than her husband.

A production very well suited for DVD release.

Production trailer:

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

Johnny Van Hal: 2
Marion Ammann: 2

Johan Reuter: 5

Susanne Resmark: 3
Linda Watson: 4

Michael Boder: 3-4
Kasper Holtens staging: 4

Overall impression: 4