adriana lecouvreur with angela gheorghiu and jonas kaufmann

Adriana Lecouvreur. DVD. London Royal Opera House 2010. Production: David McVicar. Conductor: Mark Elder. Cast: Angela Gheorghiu (Adriana), Jonas Kaufmann (Maurizio), Olga Borodina (La principessa di Bouillon), Alessandro Corbelli (Michonnet), David Soar (Quinault), Iain Paton (Poisson), Janis Kelly (Mademoiselle Jouvenot), Sarah Castle (Mademoiselle Dangeville), Maurizio Muraro (Principe di Bouillon), Bonaventura Bottone (Abbé de Chazeuil).

When David McVicar´s new production of Adriana Lecouvreur opened in 2010 at the London Royal Opera, a substantial part of the criticism seemed to focus on the qualities of Cilea´s work, expressing disappointment that Adriana Lecouvreur is not that hidden master-piece that some, for inexplicably reasons, thought it was. Since Adriana Lecouvreur premiered in 1902 it has been in and out of favour (mostly out though), depending mainly on the desires of one the days great sopranos to take on the title role. A title role famous for both dramatic demands as well as a reasonably low tessitura, making it ideal for divas nearing retirement.
Now, thus, Angela Gheorghiu has been a driving  force behind this production and what a pleasure it is to hear a voice still in it´s  prime for this part. And as the diva on stage, she seems more or less to play herself - as always one might say - but here, it really does suit the role almost to perfection. Agreed, the vocal dramatic demands of the role may somewhat exceed her capacity, but personally, it is something I care very little about in a production, where she embodies the character to a greater degree than almost everything else she has done on stage.
And then there is Jonas Kaufmann as Maurizio and he is quite simply perfect, playing what he does best: The ultimate romantic hero.

The third key component to this DVD, which I honestly believe will not be bettered in my lifetime, is David McVicar, creating a quite traditional production, centered around a baroque theater. No advanced interpretations here, but in this case this is exactly what this verismo thriller needs: Beautiful sets, straight-forward story-line and...perhaps most importantly, detailed direction of the singers. Even an infamous non-actress as Olga Borodina seems well into her character as well as still being vocally in her prime. Particularly the character of Maurizio is well developed from McVicar: Perhaps not at all the perfect romantic hero you´d initially thought he was, but one whom you may suspect of a second agenda. And then the always reliable Alessandro Corbelli - a real find as Michonnet.

Mark Elder does what he can. Admittedly Cilea was not a great orchestrator, but if one takes the work at face value, this DVD is very entertaining.

Angela Gheorghiu and Jonas Kaufmann in Act 2:

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

Angela Gheorgiu: 4-5
Jonas Kaufmann: 5
Olga Borodina: 4
Alessandro Corbelli: 5

David McVicars production: 5
Mark Elder: 4

Overall impression: 5

Jonas Kaufmann, Placido Domingo, Bryan Hymel and Aeneas

Aneas, or Enée in French, was a hugely challenging role, one of the biggest challenges in my career. It was a special role for a special occasion, the centenary of the Met in 1983. I decided to do it and although I harbored some doubts until the last moment, I am very happy with the result..

The reason this part is considered one of the sacred monsters of the tenor repertoire is its lenght and tessitura. The latter is consistently high and often hovers on the passaggio. You also have some very strenous high notes to sing...

In our case almost everyone was satisfied, except for some critics who carped at the fact that I transposed the high C and the last few bars of Aneas´ last aria, the Farewell Aria... the fact that that´s all they found to say about it made me sick. So I thought, if that´s all they feel I have to offer, let them have other tenors! So I sang a few more performances and then withdrew..I have not sung it since

Thus, Plácido Domingo´s experience with Aeneas from Les Troyens, available on DVD as well.
 
It is exactly because of the very high tessitura of the part, that I was very surprised to see Jonas Kaufmann decide to take it on for the upcoming (June-July 2012) production of Les Troyens at the London Royal Opera. I am equally not at all surprised that he has now cancelled, though the reason for the cancellation is stated as tracheitis, which I have no reason to doubt. However, that said, the tessitura of Aeneas really is very high for him and he´d definitely have to be in top shape to do it.

Jonas Kaufmann will be replaced by Bryan Hymel, who sang Aeneas in Pierre Audi´s 2010 Amsterdam production.
 
Bryan Hymel in "Nuit d´Ivresse" (with Yvonne Naef), Amsterdam 2010:
 

And Placido Domingo with the same aria (and Tatiana Troyanos), The Met 1983:

anna nicole the opera

Anna Nicole. DVD. London Royal Opera House. 2011. Production: Richard Jones. Conductor: Antonio Pappano. Cast: Eva-Maria Westbroek (Anna Nicole), Gerald Finley (Howard Stern), Alan Oke (J. Howard Marshall II), Susan Bickley (Anna´s mother).

To summarize: Vickie Lynn Hogan aka. Anna Nicole Smith was born in 1967, grew up in a small Texas town, dropped out of high-school, married at 17, gave birth to her son Daniel at 18, separated a year later, embarked subsequently on a Playboy/modelling career, married oil tycoon (and 63 years her senior) J. Howard Marshall, who died 13 months later in 1994, spent the rest of her life battling over his estate while she continued to put on weight and abuse drugs, found her 20-year old son Daniel dead in her hotel room in 2006, gave birth to daughter Dannielynn the same year and died the following year.

In summary, the worlds first reality star, one might say.

And a life told in a little under 2 hours in composer Mark-Anthony Turnages fast-paced opera, receiving it´s much-hyped world-premiere 2011 at the London Royal Opera House. That jazz remains one of the main influences of Turnages compositions is quite obvious and he has produced a score, which entertains, but which I doubt would be sustainable in itself.

The libretto is a major accomplishment by Richard Thomas (of Jerry Springer - the opera) effectively using a choir of journalists continuously present to comment on the action, playing on rhymes while incorporating the most swearing ever heard on an opera stage.

The staging by Richard Jones quite brilliantly underlines the score, presenting Anna Nicoles life in small fragments: Meeting her first husband in a diner, having her breasts augmented, wearing Jimmy Choo´s bought by J Howard Marshall, being interviewed by Larry King etc. All the while the journalists who gradually zoom in on her life metamorphose into black-clad anonymous camera-men. For Anna Nicoles life was a life led in public. And she is not ridiculed, but rather portrayed as a woman without real control over her destiny, be that true or not.

Eva-Maria Westbroek is absolutely smashing in the title role. Obviously helped by her uncanny likeness to Anna Nicole, but most of all she manages to display the insecurities as well as the brassy, publicity-seeking behaviour.

Equally well-casted was Gerald Finley, as her creepy lawyer Howard K Stern.

Profound? Perhaps not. Entertaining? Yes, definitely. Touching? Yes, that as well.

DVD trailer:

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


Eva-Maria Westbroek: 5
Gerald Finley: 5
The rest: 5


Antonio Pappano: 5
Richard Jones: 5


Overall impression: 5

don carlo poplavskaya villazon keenlyside

Don Carlo. DVD. Royal Opera House London 2008. Prod: Hytner, Conducor: Antonio Pappano. Cast: Rolando Villazon (Don Carlo), Marina Poplavskaya (Elisabetta), Ferruccio Furlanetto (Filippo), Simon Keenlyside (Posa), Eric Halfvarson (Inquisitor)

When I saw this Don Carlo in Oslo I called it a kitsch production and I gave Hytner a 2-3 on a 5-point scale. After having now seen the DVD of the same production, though taped at the London Royal Opera, I´d like to revise that statement slightly: Yes, there are plenty elements of plastic pastiche in this staging, but the close-up video images make the production come alive as it did not in the theatre. Especially the auto-da-fe is transporting.
It is clear that Hytner is a theatre man, the instruction of the singers is superb (he was not present for the preparations of the Oslo staging) and the production is stuffed with drama of the theater-sort-interpersonal kind: No one is entirely good, nor are they entirely evil. As I have described earlier, the main focus of the staging is Don Carlo.

Marina Poplavskaya is a fantastic stage personality, who simply has to be seen. Voally, however, she is severely over-challenged. Despite a wonderful colour to her middle voice, hers is a rather small lyric soprano and she simply cannot maintain the vocal lines or project especially the high notes. When her great moment finally comes in the beginning of Act 5 with "tu che la vanita", she is simply exhausted. Nevertheless, she is far from boring, her entire person exuding drama. Poplavskaya replaced the originally scheduled Angela Gheorghiu, who apparently didn´t find the role suitable for her voice.

Equally so, but to a lesser degree for Rolando Villazon´s hyperactive neuroticism, which seem to suit Don Carlo well, though he more than occasionally resorts to yelling. It would have helped both of them (not to mention) if the, in my opinion, redundant Act 1 (Fontainebleau) had been cut.

Ferruccio Furlanetto is outstanding, primarily due to his dramatical abilities. The change betwee the menacing Filippo seen in public and the vulnerable private Filippo seen in the bedroom scene is nothing short of superb. Admittedly, he doesnt actually sing all the notes, but creates a character worthy of a Hollywood actor.

Simon Keenlyside is immensely popular among the audiences her and makes a both dashing and vocally solid Posa. Sonia Ganassi is a quite likable, vocally firm Eboli, though in the house I imagine her voice could be a bit too small.

Finally, but not to be forgotten, Antonio Pappano follows up with a transporting performance.

In Oslo, I saw René Pape, Anja Harteros and Peter Mattei as the lead trio and also Jonas Kaufmann has sung Don Carlo in this production. Nevertheless, especially from an acting point of view, the besetzung choices for this DVD are far from bad, though personally I must admit to have preferred at least three the last-mentioned four, with the choice between the superb vocalism of Anja Harteros and the absorbing commitment of Marina Poplavskaya is not easily made.

Vocally, this DVD is perhaps below the ideal, but dramatically it works.

Auto-da-fe:

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


Rolando Villazon: 3-4
Marina Poplavskaya: 3-4
Sonia Ganassi: 3-4
Simon Keenlyside: 4
Ferruccio Furlanetto: 5


Nicolas Hytner: 4-5
Antonio Pappano: 5


Overall impression: 5

Carmen on DVD: Shattering Antonacci and Kaufmann in 2006 London performance

Carmen. Royal Opera Covent Garden 2006. Production: Francesca Zambello. Cast: Anna Caterina Antonacci (Carmen), Jonas Kaufmann (Don José), Ildebrando D´Arcangelo (Escamillo), Norah Amsellem (Micaëla). Conductor: Antonio Pappano. Further information here.

Director Francesca Zambello opted to create a "realistically desolate" production of Carmen for the Royal Opera in order to reflect on the every-day background on which the drama unfolds. And she succeeds admirably, presenting dreary, rusty simple sets and singers in period costumes. Admittedly, it could have been much worse. And indeed, with the cast presented I am inclined to not care about Zambello´s staging at all.

Ironically, most Carmen performances end up with plenty of praise for Micaëla and Escamillo, as more often than not Don José and Carmen doesn´t really kick it off. Oppositely here. Ildebrando D´Arcangelo looks great as Escamilla, but I don´t really take to his grainy voice. Same goes for Norah Amsellem as Micaëla, whose vibrato, though less obtrusive here than in the Berlin Carmen, really does her no favor. However, I am inclined not to care about these issues either as both Anna Caterina Antonacci and Jonas Kaufmann are shattering as the leads with stage chemistry and acting making this, by far, the best Carmen on DVD.

Anna Caterina Antonacci is not a mezzo-soprano and though her center voice lies higher than the traditional Carmen, she pulls both the cards scene and final scene off, vocally as well. Her stunning and completely involving acting is on a level of its own, places her Carmen in a league with very few members.

Jonas Kaufmann superbly portraits Don José´s change from obediant, rational soldier to a virtually insane man. Though Don José really is a whimp, Jonas Kaufmann avoids making him appear as such. Vocally, it does sound like he pushes hard for the top-notes, however Plácido Domingo has always sounded like this in his seemingly endless career.

Combined with a straight-forward engaged reading from Antonio Pappano, this is one of the most successful productions of the last decade for the Royal Opera.

Anna Caterina Antonacci and Jonas Kaufmann: Final scene

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

Anna Caterina Antonacci: 5
Jonas Kaufmann: 5
Norah Amsellem: 3-4
Ildebrando D´Arcangelo: 4

Francesca Zambello: 4

Antonio Pappano: 4-5

Overall impression: 5

London: Rolando Villazón triumphs in Hoffmann´s Tales

Les Contes d´Hoffmann. Royal Opera, Covent Garden. November 25th 2008. Production: Schlesinger. Cast: Rolando Villazón (Hoffmann), Gidon Saks (Villains), Ekaterina Lekhina (Olympia), Christine Rice (Giulietta), Katie van Kooten (Antonia), Kristine Jepson (Muse), Graham Clark (Servants). Conductor: Antonio Pappano. Further information here

First things first: 99,9% of the sold-out Royal Opera audience came to hear Rolando Villazón, and in that regard, the news are unequivocally good.

Rolando Villazón just keeps getting better and better, and his Hoffmann was undisputedly the best performance I have heard from him since his "come-back" earlier this season: For the first time, he seemed to sing entirely with his reserves as opposed to tearing on his capital. He was completely unrestrained, exposing his wonderfully dark tone, which becomes increasingly pronounced. Even his acting seemed more relaxed (as opposed to adolescently neurotic) and he was completely convincing in all aspects of Hoffmann: From the drunkard to the desperate lover. Perhaps he only gave 100% as opposed to his normal 110%, but it was more than enough to make the evening.

Of the women, Christine Rice (Giulietta) was clearly the best with a lush, unstrained and seductive voice. Most applause went to Ekaterina Lekhina´s Doll, and she did hit all the notes as well as look appropriately Doll-like. Both Kristine Jepson and Katie van Kooten were rather anonymous presences, dramatically as well as vocally. Effective, though not beautifully sung, Villains were delivered from Gidon Saks and Graham Clarke´s hilarious Servants deserve mentioning as well.

Antonio Pappano delivered an optimal reading of Hoffmann: He takes the score seriously and provides an engaged, dramatic reading, which I don´t think may be improved much on.

What may be improved on, obviously, is John Schlesinger´s utterly traditional and dusty 1980´s- something production (previously released on DVD with Plácido Domingo). A new production is more than overdue, though it ages better than many similar productions.

The performance was dedicated to the memory of the recently deceased conductor Richard Hickox.

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

Rolando Villazón: 5
Ekaterina Lekhina: 4
Christine Rice: 4
Katie van Kooten: 3
Kristine Jepson: 3
Gidon Saks: 4

Schlesinger´s production: 3

Antonio Pappano: 5

Overall impression: 4

London: A very nice Elektra

Elektra. Royal Opera, Covent Garden. November 24th 2008. Production: Charles Edwards. Cast: Susan Bullock (Elektra), Anne Schwanewilms (Chrysothemis), Jane Henschel (Klytemnestra), Johan Reuter (Orestes), Franz van Aken (Aegisth). Conductor: Mark Elder. Further information here.

This revival of Charles Edwards production of Elektra, for some strange reason, received rave reviews in the British press. Not that the production is not good and the singing is generally not fine. The problem is, that it is very polished and never takes off dramatically.

First of all, there is Mark Elder, who conducts a well-disposed and detailed performance from the well-sounding orchestra. Very nice and completely devoid of any attempts of dramatic expression.

Secondly, there are the singers, of whom only two were really good: Johan Reuter´s plainly superb Orestes and Jane Henschel´s dominating Klytemnestra infusing some much needed drama into the production, which only took off when one of these two were on stage. Which unfortunately, for long stretches, they are not.
Elektra is as much about going over the edge than any opera. And despite a not unattractive voice, nothing about Susan Bullock even approaches the edge in a part way too heavy for her. She seemed exhausted right from the beginning in a remarkably un-forceful performance. Being half-neurotic, delicate and bleak in expression fits Anne Schwanewilm´s Chrysothemis rather well, though it doesn´t really add up compared to contemporaries such as Eva-Maria Westbroek, just to mention one.

Thirdly, the production: One room, blood on the floor. Orestes climbing down a sort of chimney. A vast landshape of small fires are revealed towards the end. Undoubtedly a paraphrase on the psychological inner mind. Original? No. Effective? Not really. Dangerous? Not at all.

The performance began with Antonio Pappano appearing before the curtain to announce the death of Richard Hickox, and his dedication of this evenings performance to him.

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

Susan Bullock: 3
Anne Schwanewilms: 3-4
Johan Reuter: 5
Jane Henschel: 4-5

Charles Edward´s production: 3-4

Mark Elder: 3-4

Overall impression: 3

Lorin Maazel 1984

1984. Opera by Lorin Maazel. Royal Opera, Covent Garden 2006. Director: Robert LePage. Cast: Simon Keenlyside (Winston), Nancy Gustafson (Julia), Richard Margison (O´Brien), Diana Damrau (Gym instructor/Drunken Woman). Conductor: Lorin Maazel. Further information here.

Originally Lorin Maazel´s opera 1984 (based on Orwell´s novel) was commissioned for the Bavarian State Opera by August Everding. However after Everding´s death, the future of the project seemed insecure and after plenty of negotiations, including subsidising the production with 400.000 £ of Maazel´s own money, his opera received it´s world premiere in 2006 at Covent Garden in this production by Robert LePage. The production played for a full house and was accompanied by virtually uniformly negative reviews by the prominent British critics, a seletion of which may be found here.
The opera has been mounted at La Scala, Milan as well as released on DVD ealier this year and a website for the piece has been created.

My main problem with the work is quite simply the quality of Lorin Maazel´s composition: I find it mostly hollow and superficial. Though I lay no claim to expert status on modern compositions, the difference in quality compared with a work such as Adams´ Dr Atomic, which uses many of the same composition techniques as I hear it, is obvious. Maazel simply never succeeds in penetrating the surface and many of the scenes, especially when involving the chorus, came off too stiff. That said, I still find the above-mentioned criticism a bit harsh - the work certainly did have some good points to it, especially Winston´s torture scene came off very convincing and there generally was a good sense of flow to the entire opera. Not to mention, I certainly prefer straight-forward action like this in an opera as opposed to pseudo-intellectual musings on abstract subjects.

The plot, so to say, follows Orwell´s novel rather closely (at least as I remember it) and Robert LePage make plenty of use of (relevant) video projections alluding to the Big Brother is watching You theme of the work. Otherwise, I wouldn´t count this among LePage´s finest work, as the setting in general seemed rather ordinary, compared to other LePage stagings such as Rake´s Progress.

Best of all was Simon Keenlyside in probably the best performance I have seen him in: In splendid voice accompanied by extremely convincing acting, he perfectly embodied the character of Winston. Nancy Gustafson was given considerably less to work with dramatically, but did what she did fine as did Richard Margison´s bad guy.

And Lorin Maazel, the conductor: Difficult to judge if the music would have sounded equally shallow in other hands, but my guess would be yes.

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

Simon Keenlyside: 5
Nancy Gustafson: 4
Richard Margison: 4

Robert LePage´s production: 4

Lorin Maazel (the conductor): 3-4

DVD: McVicar´s Faust

Faust. DVD. Royal Opera, London 2004. Production: David McVicar. Cast includes: Roberto Alagna (Faust), Bryn Terfel (Méphistophéles), Angela Gheorghiu (Marguerite), Simon Keenlyside (Valentin), Sophie Koch (Siebel). Conductor: Antonio Pappano.

David McVicar´s 2004 staging of Faust for the Royal Opera, London was televised at the time, and now released on DVD. As ad admirer, virtually without exception, of McVicars eerily aesthetic productions,of which Salome, Nozze, Tales of Hoffmann, Magic Flute, Rigoletto and Poppea are only a few examples, I was surprisinly rather disappointed with his Faust staging.

The premises as such, were enticing: David McVicar sets his Faust around the time of the Franco-Prussian war (1870) in Gounod´s Paris. Faust is simply the aged Gounod, torn between religion and theater (McVicar is "profoundly anticlerical" according to himself) and (according to McVicar) questioning his sexuality. Both elements of Gounod´s character are clearly projected in this staging.

Méphistophéles appears a many-faced trickster with a magic coffin and numerous costume changes, including appearing in drag-costume in a Walpurgis night, which begins as a parody on the ballet Giselle and ends like an orgy of sex and violence. Most of the time, however, Méphistophéles looks like a Pirate of the Caribbean.
Marguerite, the aspiring socialite (Angela Gheorghiu with blonde wig), appears in the overstuffed Cabaret l´Enfer only to contrast with an extremely dull and bare setting for the second-act scene surrounding her house. In the end (if I understand McVicar rightly), Faust simply returns to his old self, now wiser after this apparent daydream/nightmare with a phantasy Méphistophéles.
No matter how eloquent McVicar´s ideas look on paper or how convincingly he explains his concept (which he does, by the way), the result comes out as appallingly overstuffed grand opera, in the worst sense of the word without a clear sense of direction, much unlike David McVicar´s usual sense of eery elegance.

That said, it was musically a rather superb performance. While Roberto Alagna may have trouble with the topnotes, he delivered a convincing performance with intensely committed acting (though he was in better vocal shape in Orange).

Angela Gheorghiu certainly has a beautiful voice, which I find optimal in a part such as Marguerite. It will then be a matter of taste whether taking offence that her acting and manners just appear plastified and artificial from A-Z. We see Angela Gheorghiu, the diva. Not Marguerite, the character, no matter how fervently she explaine the development of the character in a back-stage interview.

Ultimately, however, any performance of Faust centers around Mèphistophéles. In my book, Bryn Terfel was a disappointment with neither the vocal or physical menace or seductiveness essential for the role. In all fairness I should mention that most audiences and critics disagreed hailing Terfel´s performance as superb. As a Pirate from the Caribbean, he was, however hilarious, and his stage charisma is unquestionable. On DVD, I vastly prefer Ruggero Raimondi. Or I´d wait for René Pape.
The supporting roles were equally stellar: Simon Keenlyside a solid Valentin, while Sophie Koch to my surprise sounded overstretched as Siebel.
Antonio Pappano generated quite an amount of excitement in the pit, however ideally I´d wish for a denser sound, more along the lines of James Levines interpretation at the Met around the same time.

Faust is appallingly represented on DVD. Ken Russell´s Vienna production (with Ruggero Raimodi as Méphistopheles) seems the best alternative, though by no means overly exciting.
The church scene (Angela Gheorghiu and Bryn Terfel):

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

Roberto Alagna: 4
Angela Gheorghiu: 4-5
Bryn Terfel: 4
Simon Keenlyside: 4
Sophie Koch: 4

David McVicar: 3-4

Antonio Pappano: 4

Overall impression: 4

David McVicar´s Rigoletto

Rigoletto. Royal Opera, Covent Garden 2001. Director: David McVicar. Cast: Paolo Gavanelli (Rigoletto), Marcelo Àlvarez (Duke), Christine Schäfer (Gilda), Eric Halfvarsson (Sparafucile), Graciela Araya (Maddalena). Conductor: Edward Downes. Further information here.

Predictably director David McVicar takes a dark view of Rigoletto, a work he finds utterly depressing as "experience leads to downfall and exit from eden" (McVicar from the bonus material).

The entire opera is played out in a single circular rotating set constructed by metal and tree with interposed transparent glass shifting between the decadent luxury of the Duke´s world and the darkness of Rigoletto´s world. The explicit sexuality and decadence in the opening scene has rarely been done more convincing on an operatic stage. Subtleness is not a key word in this context.

The structures of the dark world of Rigoletto and Sparafucile become apparent through the glass in in the Duke´s decadent world as well. In essence a fragile world of luxury supported (quite literally) by the other world.

Christine Schäfer shows great musician-ship and phrasing as a crystal-clear, almost neurotic Gilda. According to David McVicar, Gilda is a character who simply cannot survive in such a society. Once she tastes experience, her destruction is inevitable.

Marcelo Àlvarez is a superb Duke, the best part I´ve seen him in, once again confirming David McVicar´s reputation of making otherwise not exceptionally singer-actors act. Even Paolo Gavanelli is on better form than often seen, however a memorable Rigoletto on the level of Leo Nucci he will never be in my book.

The DVD includes an interesting interview with David McVicar explaining his view of Rigoletto (and opera in general).
Christine Schäfer, Paolo Gavanelli "Si,vendetta":

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

Paolo Gavanelli: 3-4
Marcelo Àlvarez: 4
Christine Schäfer: 4-5
Eric Halfvarsson: 4

David McVicar: 4

Edward Downes: 4

Overall impression: 4

DVD: Nadja Michael´s Salome (and David McVicar´s)

Salome. Royal Opera, London 2008. Production: David McVicar. Cast: Nadja Michael (Salome), Michael Volle (Jochanaan), Michaela Schuster (Herodias), Thomas Moser (Herodes). Conductor: Philippe Jordan. Further information here.

David McVicar´s Salome production for the Royal Opera Covent Garden was inspired by the 1975 Pasolini movie "Salò or the 120 Days of Sodom" (based on the Marquis de Sade novel), and is an eerie mix of external political contexts and internal sexual perversities, including child abuse.

We are presented with a sort of upstairs-downstairs setting of a European wealthy palace of approximately 1938, the stage horizontally split in two. The party initially taking place “upstairs” with the rich and their guests, while Jochanaan is imprisoned in a cellar below the “downstairs” bathroom/basement level of the servants. A decadent society on the verge of a break-down.

The entire atmosphere of the staging is eerie and David McVicar succeeds in creating an atmosphere of looming premonition, so essential for a successful Salome. His use of symbolism is visible but not obtrusive - an example: Herod killed Salome´s father, who was imprisoned in the same cistern as Jochanaan, which initially spurs Salome´s curiousity (as opposed to sexual attraction) towards Jochanaan.

In the very well-executed dance of the seven veils, we are led into seven consecutive rooms (of Salome´s mind) in a series of strong images evoking Salome´s prior sexual abuse by Herodes. Nudity is represented by the naked executioner, sprayed with blood (in real-life this man works just outside as a "living statue" at the Covent Garden market). The final scene is played out conventionally, between Salome and Jochanaan´s head, but nevertheless leaves a strong impression.

There may never have been a better-looking Salome on stage than Nadja Michael. Her past as an East-German swimmer does pay off, and apart from looking absolutely stunning she moves superbly on stage and has great dramatic expression.
Unfortunately, Nadja Michael is vocally severely overchallenged. Her high notes often comes out as shrieks and she is almost half a note flat on several key points. While she does manage to hit quite a few of the high notes cleanly, she pays the price with an obtrusive vibrato on the floating notes just below the top (and there are a lot of those floating notes). As a vocal performance I find it very difficult to listen to.
However, it is not as if there are a lot of vastly superior Salome´s to chose from, Karita Mattila apart. With Nadja Michael´s physical advantages it is an obvious part for her to take on, but her voice still seems more like the pushed-up mezzo (that she was) than the dramatic soprano, she seems intent on becoming. Obviously, her voice may project better in the house and indeed she is judged an A-rate Salome with performances both at La Scala (to be released on DVD as well), Covent Garden and San Francisco opera these seasons.

Michael Volle is both physically and vocally a close-to-ideal Jochanaan, perhaps the finest overall performance. Though Thomas Moser is extremely well suited to play this extraordinarily despicable Herodes - you believe this man to be everything David McVicar insinuates he is. Michaela Schuster is, for once, a Herodias in her vocal prime, however she didn´t seem at ease with the part.

Imaginative reading from Phillippe Jordan in the pit, though ideally I´d like a bit more punch to it.

This DVD consist of two discs, Salome on the first and a fascinating documentary on the creation of Salome on the second.

David McVicar´s Salome - various clips from the production:

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

Nadja Michael: 3-4
Michael Volle: 4
Michaela Schuster: 3
Thomas Moser: 4

David McVicar´s production: 5

Philippe Jordan: 4

Overall impression: 4

DVD: McVicar Figaro from Covent Garden

Nozze di Figaro. Royal Opera Covent Garden 2006. Director: David McVicar. Cast: Gerald Finley (Count), Dorothea Röschmann (Countess), Miah Persson (Susanna), Erwin Schrott (Figaro), Rinat Shaham (Cherubino). Conductor: Antonio Pappano with the orchestra of the ROH. Further information here.

This production is clearly among the best, if not the best Figaro on DVD.

David McVicar highlights the dark undercurrent of the work in a production sufficiently traditional as not to offend anyone. The rococo charm is downplayed, however the production is far from being uncharming. The production is updated to the 1830s France, exactly why I do not know, but it is very beautiful and not unlike McVicar´s recent Manon from Barcelona.

David McVicar highlights the class distinctions of the characters and a strong emphasis is placed on sexuality and the Count's violent nature. Here, the countess appears an abused wife. The happy end for the Countess´ marriage surely is only temporary.
Equal emphasis is placed on acting, appearance and singing and the stage direction is simply superb. As is evident from the documentary accompanying McVicar´s Manon DVD, he is very much a hands-on director and meticulously directs the movements of the singers until the tiniest detail. Which pays off in spades.

What most of all makes this production memorable is the chemistry and tension. However, though the tension is highlighted, the humour is captured as well (unlike Guth´s Salzburg Figaro, where any attempt of comedy is disposed with).

David McVicar succeeds in conveying the feeling some new dimensions are discovered with this Figaro, which is no small accomplishment.

Erwin Schrott is over-all a great Figaro, but vocally he is a rather unorthodox one. First of all there is much sprech-gesang as he tends to speak his recitatives. His singing-style is rather unconventional and rough as well and occasionally he strays far away from the pitch. However, as an actor he is superb. May I add that he keeps his shirt on as well. His style takes a while getting used to, but it ends up working very well for him.

Miah Persson´s Susanna is more exquisite and delicate than most and she genuinely looks the part as a perfect match for Erwin Schrott´s Figaro.

This is the second Dorothea Röschmann Countess on DVD and she is stylish as always. Gerald Finley is a very unsympathetic count, excellent both as an actor and singer. I was less impressed by Rinat Shaham´s Cherubino as others.

Antonio Pappano was vigorous as well as precise in the pit, though not particularly inventive.
Some have complained about the uneven sound quality of this DVD. While I agree that the balance between singers and orchestra/harpsichord is occasionally uneven it did not bother me significantly.

Erwin Schrott with Aprite un po degli occhi:

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

Erwin Schrott: 4-5
Miah Persson: 4-5
Dorothea Röschmann: 4-5
Gerald Finley: 4
Rinat Shaham: 3-4

David McVicar´s production: 5

Antonio Pappano: 4

Overall impression: 5

DVD: Falstaff, Bryn Terfel´s finest hour

Falstaff. Royal Opera Covent Garden, London 1999. Director: Graham Vick. Cast: Bryn Terfel (Falstaff), Barbara Frittoli (Alice Ford), Roberto Frontali (Ford), Bernadette Manca di Nissa (Quickly), Desiree Rancatore (Nanetta), Kenneth Tarver (Fenton). Conductor: Bernard Haitink. Further information here.

Graham Vick has created a wonderfully imaginative Falstaff, chosen for the reopening of the renovated Covent Garden opera house in 1999.

The production is traditional as it follows the libretto rather closely. However, the production looks far from traditional. Set in sparkling primary colours, the world of Windsor is seen through distorsion glasses and with crooked perspectives. An example is the huge red trampoline bed tilted towards the audience on a floor with several trapdoors (Falstaff´s room).
The stage direction is flawless, capturing the sparkling and lively essence of Falstaff in what is clearly the best Falstaff production on the DVD market.

This is Bryn Terfel´s finest hour. As Falstaff he is virtually beyond both criticism and comparison, not only among the singers of today, but venturing quite a while back in history as well.
Wearing a very realistically looking latex body-suit with a huge belly, some may feel that the buffo element of Falstaff´s character is over the top, however Bryn Terfel´s characterization and acting is simply superb. Based on his performances in the heroic-bass-barytone parts of Jochanaan, Dutchman and Wotan (as well as Scarpia and Don G as the Don), I´ve never quite understood his appeal. However, watching his Falstaff, it becomes quite obvious what has made Bryn Terfel the star he is. In all regards, a tremendous achievement, which will undoubtedly stand the test of time unlike the heroic parts he unfortunately prefers to sing today.

Barbara Frittoli is simply perfect as a young and very playful Alice Ford - she is both good-looking as well as a terrific actress in superb voice. There are no weak links in the supporting cast.

Falstaff is very much the conductors opera. And without Bernhard Haitink sparkling in the pit the production would have been a failure.

Apparently this DVD has received an 'R' rating in the US due to Falstaff's giant erection, meaning that children can watch it but it is recommended that parents guide them. Consider yourselves warned...

Bryn Terfel: Ehi Paggio..l´Onore

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

Bryn Terfel: 5
Barbara Frittoli: 5

Graham Vick´s staging: 5
Bernard Haitink: 4-5

Overall impression: 5

Royal Opera House, Covent Garden

The current building is the third on the site and dates from 1858, but was extensively renovated in the 1990s. The Royal Opera House (Covent Garden, London) seats 2268 people. More information on the history of the house here.

Kasper Holten is intendant of the Royal Opera from 2011. Antonio Pappano is musical director.

New productions are generally modern, though only moderately inventive (generally speaking) and quite a few dusty traditional productions are still around (e.g Lohengrin, Fanciulla del West).

Outstanding directors such as David McVicar (Salome, Nozze di Figaro, Magic Flute, Faust) and Graham Vick (Falstaff) have created excellent new productions for the Royal Opera House.

Virtually all major singers/conductors appear/have appeared here. Those regularly appearing include Rolando Villazón, Simon Keenlyside, Bryn Terfel, Karita Mattila and Anna Netrebko.

Practical information:

Royal Opera website, including season schedule, on-line ticket sale etc.

Ticket prices and overview of the auditorium may be accessed here.

Tickets are incredibly expensive, and though the Royal Opera claim ticket prizes to be lowered this season, the calculations behind that argument must require fairly advanced mathemathical skills, as the price of identical seats have increased this year compared to last year.

The organization of the Royal Opera website leaves much to be desired, such as the presentation of a complete season overview, which may only be displayed to those with well-developed internet detetctive skills. Ticket bookings come in "seasons" - e.t. autumn, winter, spring, summer. Standing room spaces are sold in advance like all other tickets. A limited number of seats are reserved for sale on the day of the performance. The cheap tickets are located in the upper ranges of the theatre, some of them requiring rather strong binoculars to get a glimpse of the stage.

The Royal Opera is located in the middle of London, next to the Covent Garden market.

DVD: Fille du Regiment with Natalie Dessay and Juan Diego Florez

La fille du regiment. Royal Opera, London 2007. Director: Laurent Pelly. Cast: Natalie Dessay, Juan Diego Florez, Felicity Palmer, Alessandro Corbelli. Conductor: Bruno Campanella. Further information here.

This is a DVD of the same La fille du regiment production shown earlier this year on the HD telecast from the Metropolitan Opera. I´ve written in details on the HD transmitted performance here, all of which (with a few exceptions) also applies to the DVD, and need no repetition.
The most notable exceptions: As the Duchess of Krakenthorp the vastly irritating Marian Seldes of the MET was replaced (or rather it was the other way around) by the much superior Dawn French. But most importantly Bruno Campanella brought much more life to the score than Armiliato did at the MET.
Furthermore, Natalie Dessay seemed in better voice, though I still have the impression she is tearing rather heavily on on her vocal reserves. Juan Diego Florez was the same. At least to a non-Florez, non-belcanto afficionado as myself..

In brief, I found this production both funny and inventive. Most, if not all of this DVD may be seen for free on YouTube.

Natalie Dessay, Chacun le sait:

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

Natalie Dessay: 4-5 5 (see comments)
Juan Diego Florez: 4-5 5 (see comments)
Felicity Palmer: 5
Alessandro Corbello: 5
Bruce Campanila: 4-5

Laurent Pelly´s production: 5

Overall impression: 5

Luc Bondy Salome DVD with Malfitano, Terfel, Silja and Riegel

Salome. Royal Opera Covent Garden 1997. Production: Luc Bondy. Cast: Catherine Malfitano (Salome), Bryn Terfel (Jochanaan), Anja Silja (Herodias), Kenneth Riegel (Herodes). Conductor: Christoph von Dohnanyi. Further information here.

Luc Bondy´s production of Salome has traveled around the world, and to be completely honest, I fail to fully understand why.

Luc Bondy intended to create a fin-de-siécle thriller cum family saga. To this end he applied a darkly expressionistic set mimicking the interior of a Victorian house only allowing for minimal lights to penetrate the french curtains. At one side a concrete ramp leads to Jochanaan´s basement as well as to the exterior. Thrown in are the odd few slaves. Salome´s tragedy is subsequently acted out around the dinner table in an interpretation of the work I simply do not find coherent.

Admittedly he is not helped by his Salome either. A signature role for Catherine Malfitano, I nevertheless find her Salome inadequate - vocally as well as dramatically. And vastly below the standard of her own previous DVD Salome from Berlin as well. Malfitano attacks the notes fearlessly and hits most of them as well, but the gleam, presence and character essential for a great Salome simply is not there. And a great actress she is not, in my opinion, though in fairness I should add that opinions on her Salome vary widely. Furthermore, a thrilling Salome depends on the chemistry between Salome and Jochanaan, which is simply not there.

Admittedly there is no better Jochanaan on DVD than Bryn Terfel. Nevertheless I do not think he is the truly great Jochanaan many have made him out to be. For the same reasons I do not think he is a great Wotan or a great Dutchman. Lack of majestic presence and commanding noble voice are some keywords. Not that Bryn Terfel´s voice is not both commanding, powerful and beautiful. It surely is. But his true strenght as a performer, in my opinion, lies in the edgier characterizations of less noble or haughty chatacters. As such he is a much better Leporello than Don Giovanni. And he would be among the truly greats as Alberich as well. His Johanaan has the presence of a nice fatherly priest as opposed to the commanding mysterious mytic. Nevertheless, his qualities place him vastly above virtually all his present, if not past, competitors in this, as in most of his other parts.

Kenneth Riegel and Anja Silja are both great as Herodes and Herodias. While Dohnanyi is by no means substandard, I miss sparkle and energy in a rather too anonymous performance.

Catherine Malfitano and Bryn Terfel in the confrontation between Salome and Jochanaan:

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

Catherine Malfitano: 2
Bryn Terfel: 4
Kenneth Riegel: 4
Anja Silja: 4

Luc Bondy´s production: 3
Dohnanyi: 3

Overall impression: 3

Simon Keenlyside and Dorothea Röschmann shine in Covent Garden Magic Flute DVD

The Magic Flute. Royal Opera Covent Garden 2003. Production: David McVicar. Cast: Will Hartmann (Tamino), Dorothea Röschmann (Pamina), Diana Damrau (Queen of the Night), Simon Keenlyside (Papageno), Franz-Josef Selig (Sarastro). Conductor: Sir Colin Davis. Further information here.

David McVicar plays it relatively safe with this Magic Flute production for the Royal Opera. The stage is virtually bare and dark surrounded by occasional pillars and fractions of black marble walls often covered in a mysterious mist. Costumes are eclectic, ranging from the 17th century until present day and includes glitzy gala dresses as well as workingman outfits. The occasional moon or stars pop up in the background as well as semi-imaginary applications like a red tree with blue leaves. Elements of children´s theater, such as a bird being moved by an actor and a mâche dragon contribute to the overall exquisite and fairy-tale impression of this elegant and underplayed staging. Almost too polished and smooth, one may argue, but otherwise hard to criticize.

None of the principals are less than good (well maybe one is) and some are frankly outstanding, mainly Simon Keenlyside and Dorothea Röschmann.

Simon Keenlyside´s Papageno is a weary working man (bird-catcher) and not the ridiculous figure he is often made out to be. Instead he is rather awkward. His dry voice and excellent physical acting makes him ideal for this part, the best I have seen him in. Will Hartmann is a rather stiff actor and seems strained vocally as well in the thankless part of Tamino, who furthermore suffers by being completely upstaged by Simon Keenlyside.

Dorothea Röschmann is a superb Pamina, mainly because she is stylish and unsentimental. And apart from having a beautiful voice, she sings and acts with a firm character unusual for the often wining Paminas.
I belong to what I suspect is a minory not particularly taken with Diana Damrau, finding her voice uninteresting and her presence rather irritating. However to say that vastly better Queen of the Nights walk around out there, I cannot do either..

Franz-Josef Selig is simply not a very good Sarastro. That he lacks the majesty and gravitas of the truly great is one thing. Worse, however, he is rather wobbly and has trouble in both ends of the register.

No doubt that Sir Colin Davis is a fine Mozartean with a rather transparent and elegant approach, not unlike Claudio Abbado. As someone still swearing to Otto Klemperer´s dense interpretation, I´d personally prefer Riccardo Muti from the 2006 Salzburg production. being the most direct competition on DVD as well. Cases made be made for owning both productions, especially for fans of the Magic Flute.

Simon Keenlyside as Papageno:

The bottom line:

Simon Keenlyside: 5
Dorothea Röschmann: 5
Diana Damrau: 4
Will Hartmann: 2-3
Franz-Josef Selig: 2-3

David McVicars production: 4
Sir Colin Davis: 4

Overall impression: 4

DVD: London 2002 Il trovatore

Il trovatore. Royal Opera Covent Garden 2002. Production: Elijah Moshinsky. Cast: José Cura (Manrico), Veronica Villaroel (Leonora), Dmitri Hvorostovsky (Count di Luna),Yvonne Naef (Azucena). Conductor: Carlo Rizzi. Further information here.

Moshinsky´s Il Trovatore is mostly a dark, traditional affair, which seems to be set in late 18th century Italy. The filmic quality no doubt may be attributed to set designer Dante Ferretti, well-known for his previous work in film.

Superbly acted Manrico from José Cura, though vocally he strayed rather far away from pitch and was patchy at times. Equally fine dramatic acting from Veronica Villaroel, who furthermore sang a fine Leonora, though perhaps not an ideal voice type for this sort of spinto role. Yvonne Naef was a strongly sung Azucena with the required heft, though a bit restrained. And Dmitri Hvorostovsky was a beautifully sung Count di Luna, a part very suitable to his exquisite legato-lines. Not normally a notable actor, he nevertheless seemed quite into the part as well.

Carlo Rizzi conducted without being memorable one way or the other.

Dmitri Hvorostovsky, Il balen del suo sorriso:

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

José Cura: 3
Veronica Villaroel: 3-4
Dmitri Hvorostovsky: 4
Yvonne Naef:4

Elijah Moshinsky´s staging: 3

Carlo Rizzi: 3

Overall impression: 3

Posted by yvonnedesire on YouTube

DVD: Domingo in Covent Garden Solti-conducted Otello

Otello. Royal Opera Covent Garden 1992. Production: Moshinsky. Cast: Plácido Domingo (Otello), Kiri Te Kanawa (Desdemona), Sergei Leiferkus (Iago), Robin Leggate (Cassio). Conductor: Sir Georg Solti. Further information here.

The Prince and Princess of Wales (Princess Diana) was present at this Otello-performance to celebrate Sir Georg Solti´s 80th birthday in what turned out to be their last official public appearance together. And as some will know, Sir Georg Solti and Princess Diana died within the same week some years later.

On Moshinsky´s production it can be said that it is traditional, however on the minimalistic side avoiding the excesses of a Zeffirelli.

On Plácido Domingos Otello I offer nothing which hasn´t been put in writing numerous times already: In my opinion, Otello is his best part, in which he has been unrivalled for about thirty years and his performance here could not be bettered. A superb singing-actor with Shakesperean singing and acting. Opposing him is Sergei Leiferkus, who presents a vocally convincing characterization of Iago, however with a weak stage presence entirely without menace.

While Kiri Te Kanawa vocally is fine as Desdemona, though without the bloom or vocal expressiveness of a truly great one, she is, in my opinion, among the most boring singing-actresses to have had a major career. There is no chemistry between her and Plácido Domingo, something I am not inclined to blame on him. She is far inferior to both Barbara Frittoli at La Scala and Renée Fleming at the Met on the competing DVDs featuring Plácido Domingo as Otello.

Sir Georg Solti, on the contrary, is inferior to no-one being typically explosive and dramatic. Furthermore, he manages to shape the lyric phrases as well and creates thrilling dramatic intensity in a way Riccardo Muti may only dream of. It may be his 80th birthday, but he conducts as if he was half that age.

Plácido Domingo aso Otello is the way to go on DVD with the choice between this version, the MET and Scala. Personally, I´d opt for the Scala version.

Plácido Domingo and Kiri Te Kanawa, Gia nella notte densa:

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

Plácido Domingo: 5
Kiri Te Kanawa: 3
Segei Leiferkus: 4

Moshinsky´s production: 3
Sir Georg Solti: 5

Overall impression: 4

Haitink conducts Parsifal at the Royal Opera, London

So why is the Royal Opera staging this not-very-short-and-undemanding piece after the equally not-very-short--etc. Ring? Simply because when asked, in what and when to make his return to Covent Garden, Haitink had said "Parsifal. 2007". More information on the performances here.

Earlier this year in Zürich, Bernard Haitink conducted a fine Parsifal. Also the London-reviewers (list below) universally praised Haitinks conducting an the singers, especially Sir John Tomlinson and Petra Lang. Though not much praise was allocated to recently deceased Klaus Michael Grübers staging..

Reviews:

The Stage
The Observer
The Times
The Telegraph
The Independent
Musicalcriticism
Intermezzo
MusicOMH