Rusalka in the basement of Fritzl

Rusalka. DVD. Bavarian State Opera 2010. Production: Martin Kusej. Conductor: Tomas Hanus. Cast: Kristine Opolais (Rusalka), Klaus Florian Vogt (Prince), Günther Groissböck (Water Goblin), Janina Baechle (Jezibaba), Nadia Krasteva (Foreign Princess).
A both shocking and haunting production, this Rusalka is one of Martin Kusej´s best stagings and probably one that many will find it hard to forget – whether one agrees or not with the “concept”.

Inspired by the horrors of the likes Josef Pritzl and Wolfgang Priklopil, Martin Kusej completely ignores any trace of the romantic era painting a grim and shocking picture of contemporary sexual violence.

While Fritzl/Rusalka´s Father/Water Goblin and his wife/Rusalka´s Mother/Jezibaba live upstairs, Rusalka together with her sisters are kept prisoners in the cellar of an (from the outside) idyllic house. the mother/Fritzl´s accomplice but also she who helps Rusalka escape.

It is simply heartbreaking to see how Rusalka is damaged beyond repair and does not stand a chance adapting to life outside, when she escapes, aided by her mother/Jezibaba. Obviously an insensitive Prince (perfectly played by Klaus Florian Vogt), who carries on a premarital affair with the Foreign Princess does not help her either, however it is clear that the psychological damages inflicted upon Rusalka during her childhood as a prisoner are too severe and incompatible with a normal life on the outside. Finally, Rusalka flees back to the comfort of her prison, the only place she knows and among the most outstanding features of Kusej detailed direction is the ambiguity of the psychological portraits – Rusalka´s ambiguity towards her father and also her mothers/Jezibaba´s ambiguity as both an accomplice and support in Rusalka´s escape. 

In the end, however, Fritzl is finally caught by undercover police, but damaged and shattered, the children end up in a mental institution and, by now, Rusalka is clearly insane.  The closest I have ever seen an opera come to a psychological thriller. It may not have been Dvorak´s intention, but it works.

Originally planned for Nina Stemme as Rusalka, Kristine Opolais gave up her Metropolitan Opera debut (Musetta in Boheme) when Stemme pulled out - retrospectively the right choice as she later was hailed as one of the most noteworthy debuts of the 2012-13 Met season as Magda/La Rondine.

Kristine Opolais is the ideal interpreter of this haunted Rusalka, looking and acting the part worthy of a Hollywood-star and with a silvery, agile voice, she certainly is up to the demands of the part. That her voice does not quite appeal to me should not be held against her.

Gunther Groissbock is terrifyingly convincing as Fritzl/Water Goblin in what could easily be one of the most thoroughly unsympathetic character´s ever seen on an opera stage (contrary to Dvorak´s intention). Probably not what he expected signing up for this production....

Not less outstanding are Klaus Florian Vogt´s cool, egocentric Prince, Janina Baechle´s Jezibaba, herself a damaged creature and Nadia Krasteva´s looker of a Foreign Princess.

There is only one let-down here, and for me that is Tomas Hanus in the pit, whose style is rather rigid, reluctant and transparent and does not truly capture Dvorak´s flow.

Almost unwatchable, at the same time one of the strongest stagings I have ever seen.

Production trailer:

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

Kristine Opolais: 5

Klaus Florian Vogt: 5

Günter Groissbäck: 5

Janina Baechle: 5

Nadia Krasteva: 5

Martin Kusej´s production: 5

Tomas Hanus: 4

Overall impression: 5

DVD Kusej Amsterdam Flying Dutchman

Der fliegende Holländer. DVD. Nederlanse Opera 2010. Production: Martin Kusej, Conductor: Hartmut Haenchen with Netherlands Philharmonic Orchestra. Cast: Juha Uusitalo (Dutchman), Catherine Naglestad (Senta), Robert Lloyed (Daland), Marco Jentzsch (Erik), Marina Prudenskaja (Mary).

A group of tourists are stranded. Behind them , and set of double glass doors, the swimming pool of the hotel is visible. The sleek tour guide (Daland) muses around, trying to find a solution, which arrives with the Dutchman´s bag of Euros. Who are the black-hooded people behind the glass doors? Criminals? Escaped members from the Dutchman´s crew, we later find out. At that point, an unusually resourceful Erik has already killed some of them. What are they really? An allegory of illegal immigrants in Europe as alluded by some? Or just a gang of criminals?

Senta is completely detached from reality, sitting alone by an old spinning-wheel as the only one amidst modern women hanging a swimming pool including a posh Mary in silver cocktail dress. That Catherine Naglestad´s Senta is rather mature seem fittingly here - she has been living outside reality for a long time.

Late, in Act 3, the stage is switched around, now we are among the black-clad, looking at the swimming-pool party.

The relationship between Erik, Senta and the Dutchman is at the centre of this staging, with focus  on Erik. Eventually he doesn´t accept the relation between Senta and the Dutchman and ends by shooting (and killing) both the Dutchman and Senta. Redemption? Not Martin Kusej´s style.

Hitting more often than missing, this is nevertheless not one of Martin Kusej´s best stagings (on DVD, look for Lady Macbeth from Mtsensk or Rusalka) as he lacks a certain clarity of conception.

Catherine Naglestad has both charisma, and heft, and gets better and better. Her vocal strong point is her high register, though if your reference is Leonie Rysanek, she will eventually fall short. Without being exceptional, slightly too wobbly and not too high on the charisma scale, Juha Uusitalo is nevertheless a better Dutchman than Wotan,.

Robert Lloyd (born 1940), thus 70 years at the time of the performance, was more than adequately challenged as Daland, while Marco Jentzch convinced as Erik.

Swift and transporting reading from Hartmut Haenchen.

Unfortunately, important recent productions such as Peter Konwitschny´s in Munich are not (yet?) available on DVD. and generally, the Dutchman competition on DVD is not overwhelming. Though old-fashioned by todays standards, Harry Kupfer´s 1978 Bayreuth production may still be the choice for many.
 
Production trailer:

 
The bottom line (scale of 1-5, 3=average):
 
Juha Uusitalo: 3
Catherine Naglestad: 4
Robert Lloyd: 2
Marco Jentzch: 3
Hartmut Haenchen: 4
Martin Kusej´s staging: 3-4
Overall impression: 4

Lady Macbeth from Mtsensk on DVD: Smashing Westbroek and Jansons in superb Kusej production

Lady Macbeth from Mtsensk. Amsterdam 2006. Production: Martin Kusej. Cast: Eva-Maria Westbroek (Katerina), Christopher Ventris (Sergei). Conductor: Mariss Jansons with the Concertgebouw. Further information here.

A winner from start to end: Martin Kusej´s 2006 Amsterdam production of Lady Macbeth from Mtsensk, which will play at the Paris Bastille Opera in January 2009. I simply cannot imagine a better performance of this opera.

First of all, this is one of Martin Kusejs best stagings: He digs deep into the socio-politic aspects of the work with stark white/dark abstract sets. His (and Shostakovich´s ) sympathies clearly lies with Katerina, a woman literally trapped behind bars in a quadrangular glass structure at the center of the otherwise completely dark stage. Kusej strips the work from all excesses to reveal the naked emotional core. Quite an accomplishment. And moving as well as eerie. Not to mention the most convincing realization of the sex scene between Sergei and Katerina: By stroboscopic lighting, the scene becomes both realistic and eerie as opposed to semi-stupid.
Mariss Jansons connection with Shostakovich is obvious from bar one and the performance from the Concertgebouw is simply shattering.

Eva-Maria Westbroek is a wonderful Katerina, stunning acting and highly expressive singing in a performance I cannot imagine bettered. Partnered by Christopher Ventris, who makes the most out of his immensely unsympathetic signature part.
There really is no competition for this Lady Macbeth on DVD. The only live alternative is Stein Winge´s production from Barcelona, vastly inferior both in terms of production and musical execution.

45 minutes excellent bonus material including interviews with Martin Kusej, Jansons and the protagonists.
Highly recommended. One of the overall best opera realizations on DVD.

Eva-Maria Westbroek and Christopher Ventris:

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

Eva-Maria Westbroek: 5
Christopher Ventris: 5

Martin Kusej´s production: 5

Mariss Jansons: 5

Overall impression: 5

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DVD: Salzburg 2006 Don Giovanni

Don Giovanni. Grosses Festspielhaus, Salzburg Festival 2006. Production: Martin Kusej. Cast: Thomas Hampson (Don G), Ildebrando d´Arcangelo (Leporello), Christine Schäfer (Donna Anna), Melanie Diener (Donna Elvira), Isabel Bayrakdarian (Zerlina), Piotr Beczala (Don Ottavio), Luca Pisaroni (Masetto). Conductor: Daniel Harding with the Vienna Philharmonics. Further information here.

When Martin Kusej´s Don Giovanni opened in Salzburg, Anna Netrebko was Donna Anna with Nikolaus Harnoncourt on the podium. However, in 2006, Anna Netrebko and Nikolaus Harnoncourt performed in Nozze di Figaro next door, leaving the Donna Anna to Christine Schäfer and the podium to Daniel Harding in the Grosses Festspielhaus.

Set on a revolving white stage with multiple rooms, this Don Giovanni is about existential loneliness, emptiness, superficial sexuality and death. Don Giovanni is "a living hurricane of chaos and anarchy" who must "devour other people´s existence to prove his own worth" (Thomas Hampson). Semi-naked models parade as an amorphous mass. Very appropriately the "Deh vieni" is adressed to no-one (originally Don G sings this to Elvira´s maid) and when the song is over, the stage goes dark.
Such existence is not compatible within modern society, which is why Leporello kills him in the end, about 10 seconds before he would have died anyway, though. This Don Giovanni is someone you simply want to diesappear. However Leporello and Don Giovanni change recitatives as well as clothes - two of the same sort obviously.

Apart from the fact that I prefer a basso cantante as opposed to Thomas Hampson´s lyrical baritone, Don Giovanni is one of his best roles. While I find his work in repertoire such as Macbeth, Simon Boccanegra and Amfortas downright irritating, he seems much closer to his artistic core in this repertoire, also more suitable for his voice. Furthermore he is a superb actor and commands the stage.
Ildebrando D'Arcangelo as Leporello is energetic and looks great onstage, both of which goes a long way to compensate for the fact that his voice is not very pleasant.

Christine Schäfer is lighter than usual as Donna Anna, but very stylish. Melanie Diener was in more trouble as Donna Elvira, but neverthess fine. Isabel Bayrakdarian was superb as Zerlina, while Robert Lloyd was slightly more irritating than usual as the Commendatore. Piotr Beczala gets away with Don Ottavio without being irritating - not a small accomplishment.

Upon repeated viewing I must admit to tire of Daniel Harding´s reading - initially I found it dynamic, now I cannot help feeling he competes with Bertrand De Billy in presenting a Salzburg Don Giovanni with as few ideas as possible. You may not like all of Nikolaus Harnoncourt´s ideas. But at least he has plenty to chose from.

Musically, the best DVD is the Furtwängler performance, if one is up for watching the old film. If not, this is not a bad choice at all.

Thomas Hampson, Ildebrando D´Arcangelo: Orsu, spicciato presto

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

Thomas Hampson: 4
Ildebrando D´Arcangelo: 4
Christine Schäfer: 4
Melanie Diener: 3-4
Isabel Bayrakdarian: 4
Piotr Beczala: 4
Luca Pisaroni: 4

Martin Kusej´s production: 4
Daniel Harding: 3

Overall impression: 4

DVD: Clemenza di Tito

Clemenza di Tito. Felsenreitschule, Salzburg Festival 2003. Director: Martin Kusej: Cast: Dorothea Röschmann (Vitellia), Michael Schade (Tito), Vesselina Kasarova (Sesto), Elina Garanca, Barbara Bonney. Conductor: Nikolaus Harnoncourt with the Vienna Philharmonics. Further information here.

Martin Kusej created a close to ideal staging of Mozart´s opera La clemenza di Tito for the Salzburg Festival 2003. Even those looking for a traditional Tito (which this is certainly not), I wouldn´t advise immediately to look elsewhere as the vocal performances are simply superb, in particular the casting of the central trio of Dorothea Röschmann-Vesselina Kasarova-Elina Garanca, which may stand any test of time.

Martin Kusej imaginatively incorporates the intrinsic stone arches of Salzburg´s Felsenreitschule in the sets as small spaces inhabited by the various characters, emphasizing the dark aspects of the work, such as isolation and betrayal. Otherwise the stage is virtually naked, to be lightened up by some spectacular light effects surrounding the fire/assassination attempt on Tito, predicably deemed superficial by the Austrian press.

Nikolaus Harnoncourt´s ideas may not be for everyone, but once you have heard a Mozart opera conducted by a conductor without ideas, most will come to appreciate any idea at all. As it is, I rather like Harnoncourt´s ideas, relatively slow tempi, though diverging from the norm to the degree of his Nozze di Figaro a couple of years later. The recitatives are exciting, not least due to the superb singing-actors.

Personally, I´ve never taken to trouser-roles in opera, however it´s hardly something to blame on the production or the artists. Nor that the second act seems to drag on quite a bit...

All six soloists are simply excellent: I cannot imagine a better pair of friends than Vesselina Kasarova and Elina Garanca. Elina Garanca sings mainly in the lower ranges as Annio and she is a very convincing trouser-role artist (as Octavian as well). The slight androgynity of Vesselina Kasarova I´ve always found curiously intriguing in trouser roles, and vocally she is nothing short of perfect. Dorothea Röschmann is the over-wrought Vitellia in a performance I simply cannot imagine being bettered. The chemistry between these three are unbeatable. In comparison with these great ladies, Michael Schade´s Tito seems slightly less exceptional, though it seems like he is supposed to be insane, which may obviously explain a bit.

I cannot imagine a better performance of Tito on DVD.

Sesto-Vitellia duet with Vesselina Kasarova and Dorothea Röschmann:

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

Dorothea Röschmann: 5
Vesselina Kasarova: 5
Michael Schade: 4
Elina Garanca: 5
Barbara Bonney: 3-4
Luca Pisaroni: 4-5

Martin Kusej´s production: 5

Nikolaus Harnoncourt: 5

Overall impression: 5

Elektra on DVD: Superb Eva Johansson in Kusej staging from Zurich

Elektra. Zurich Opera House 2006. Director: Martin Kusej. Cast: Eva Johansson (Elektra), Melanie Diener (Chrysothemis), Marjana Lipovsek (Klytemnestra), Alfred Muff (Orestes). Conductor: Christoph van Dohnanyi. More details here.

Martin Kusej´s Zurich production of Elektra is surprisingly traditional - while the exterior may have changed from Ancient Greece to a proxy-swinger-orgy complete with the standard dose of nudity/seminudity, the core remains: Elektra, at the center of a society, rotten with depravity.

Everything all takes place in a room with a buckly floor lined by seven doors, polstered on the outside. Transvestites, Parisian Cabaret dancer look-a -ikes, nudes (and semi-nudes) constantly exit and enter the part-brothel, part-asýlum, part-swinger club room. The psychopathic mother, the dreamily unrealistic sister, the repugnant stepfather, the eerie brother all seem to belong in this place of sadism, incest and suicide. The recognition scene is beautiful - when the roof opens, a silvery shimmer descends on the blue room.

Elektra in semi-punk hooded sweater and baggy pants appear the sanest of them all. And Eva Johansson is simply a superb Elektra, probably her best part. Her tendency to neurotic and wild acting suits the part perfectly, as does the sometimes shrill ring to her occasionally sharp tone. With almost no vibrato, she is virtually on pitch throughout and nails the high C like few others. I cannot imagine a better interpreter of the part on stage today.
Marjana Lipovsek´s very strong Klytemnestra is not as decadent as often seen, and the former mightly Queen has now most of all become a Drag Queen.

Next to these hyperintense women, Melanie Diener is refreshingly human as Chrysothemis.
Christoph von Dohnányi has a no-nonsense approach to the score - stringent and with clear lines.

Compared to the other Elektra DVDs on the market, I personally prefer this one together with the Kupfer/Abbado production from Vienna. The alternatives are the Götz Friedrich film with Leonie Rysanek and the MET 1980 production with Birgit Nilsson/Leonie Rysanek.

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

Eva Johansson: 5
Melanie Diener: 4
Marjana Lipovsek: 4-5
Alfred Muff: 3

Christoph von Dohnanyi: 4
Martin Kusej: 5

Overall impression: 4-5

Rolando Villazón and Marina Domashenko in Berlin Carmen

Carmen. Berlin State Opera 2006. Production: Martin Kusej. Cast: Marina Domashenko (Carmen), Rolando Villazon (Don José), Norah Amsellem (Micaëla), Alexander Vinogradov (Escamillo), Christof Fischesser (Zuniga). Conductor: Daniel Barenboim.

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Martin Kusej´s Carmen is a co-production between the Berlin State Opera and the Paris Châtelet (shown in 2007).

In short: This is not a Carmen for traditionalists.

The entire opera is a flash-back starting with Don José´s on-stage execution. Don José is unstable from the beginning and doomed to destruction. Carmen does not play an essential part in this.

The production emphasizes sex, death and violence. Basically everyone is killed: Micaëla by a stray shot. Carmen in front of a white-clad and white-painted audience in front of which also the dead Escamillo (killed in the arena) is carried. And finally Don José in the first scene. Unfortunately, Kusej couldn´t help throw in some predictable symbols such as a red skarf as well.

Kusej´s minimalist, grey concrete staging with a quadrangle-turning-execution-pad-turning-whorehouse provides an austere background for this updated dark interpretation. Carmen is obviously a prostitute, dancing away in the basement with her underwear-clad colleagues surrounded by the soldiers. The rest of the story basically tells itself.

As engaging theater it works 100% , most importantly because Rolando Villazón and Marina Domashenko are superb.

Marina Domashenko is simply a superb Carmen, a beautiful dark mezzo as well as a compelling stage presence. It makes complete sense that José would fall in love with her and it´s equally obvious why she tires of him. Domashenko is deservedly gaining world-wide recognition with this Carmen and I do not think I have heard a current Carmen superior to hers.

Rolando Villazón´s Don José (the first of his career) is a desperate maniac verging on mental instability from the start. As always, he identifies 100% with his character, which also suits his hyperenergetic, neurotic acting well.

Alexander Vinogradov´s Escamillo is the only rather weak point in the cast - he simply looks like a teenager and it doesn´t quite make sense why this Carmen would be fascinated by him. Norah Amsellem is dramatically a convincing Micaëla. She has a clear soprano, though the vibrato is much too heavy for my taste, making her sound out of tune.

The orchestra under Daniel Barenboim is engaging throughout.

The London Carmen with Jonas Kaufmann and Anna Caterina Antonacci seems upcoming as well. Which to prefer must surely be a matter of taste. Though the London Zambello production does not appeal to me, the singers very much do. Though I´d suppose this to have the slight edge. Lovers of Carmen most probably will want both.

Rolando Villazón and Marina Domashenko in the final scene:

Carmen persuading Don José to free her (Villazon/Domashenko):

Highlights from the production:

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

Rolando Villazón: 5
Marina Domashenko: 5
Norah Amsellem: 3
Alexander Vinogradov: 2

Martin Kusej´s production: 4-5
Daniel Barenboim: 4-5

Overall impression: 4-5

Photos: www.staatsoper-berlin.de