The new 2013 Met Parsifal

A co-production between The Met, Opera Lyon and Canadian Opera Company, this Parsifal, directed by Francois Girard opened in Lyon in 2012 where the originally scheduled premiere was postponed due to technical concerns regarding the management of the large amounts of "blood", which floods the entire stage in Act 2.
At the Metropolitan Opera the production of Parsifal (which has replaced Otto Schenk´s 1991 staging), starring Jonas Kaufmann, René Pape, Katarina Dalayman, Peter Mattei) opened on February 15th 2013, transmitted in HD on March 2nd.
Discussion of the production in the New York Times. It seems to be something of an event. In any case, I don´t remember ever having seen so rave reviews of any production at the Metropolitan Opera.

Reviews:
New York Times
New York Post
Bloomberg
Associated Press
The Classical Review
Huffington Post
Musical America - a very thorough explanation/discussion of Girard´s production

A note regarding the live HD transmission on March 2nd:

• I attended the live HD transmission, but I´ll refrain from a description of the staging as this has already been done in details by others.
• Suffice to say that I have seen about 25 productions of Parsifal and this (together with Kupfer´s in Berlin) is probably the finest as Girard manages to strike the exact balance between presenting his clear and interesting ideas as well as providing a back-drop on which the music may shine. It is, however, relatively static and it may not work with a lesser dramatically involved cast.
• Daniele Gatti has received heaps of praise. I am less convinced. Clearly he has myriads of ideas, however he largely ignores the contrapunctual elements of the score and it does feel unstructured. Furthermore his coordination with the singers is not razor-sharp. Furthermore, at times he is simplly too slow and thereby looses momentum. Those who admire Barenboim and Thielemann will probably not be overwhelmed.
• As for the singers, René Pape and Peter Mattei truly shine. Katarina Dalayman is a rather womanly, passive Kundry, perhaps not inappropriate for this production, with a beautiful tone.
• Yes, Jonas Kaufmann is overall fine and best in Act 3. Parsifal, however is not an optimal role for him and Wagner, as of now, is not what he does best. He seems to have adopted a Lauritz Melchior attack style on his high notes which I am not sure really suits him.
• Eric Owen (Alberich in the LePage Ring and the highlight of the Cycle) was the live in HD host, with a booming bass voice. I watched the transmission in Sweden, where people were disappointed that neither Mattei nor Dalayman said anything in Swedish to the cinema audiences following the examples of both Jonas Kaufmann and René Pape.

René Pape in Gurnemanz´ narration (Act 1) from the Met:

Jonas Kaufmann: Amfortas Die Wunde! (Act 2) from the Met:

 Photos:

Photos: Ken Howard, Metropolitan Opera

Don Giovanni at the Met

Don Giovanni. Metropolitan Opera 2011. HD. Production: Michael Grandage. Conductor: Fabio Luisi. Cast: Mariusz Kwiecien (Don G), Luca Pisaroni (Leporello), Marina Rebeka (Donna Anna), Barbara Frittoli (Donna Elvira), Ramon Vargas (Ottavio), Mojca Erdmann (Zerlina), Joshua Bloom (Masetto).

• When this production opened in 2011, critics generally rated it between "dull" and "disastrously dull". They are right.
• Michael Grandage is a renowned British theater director and it was a reasonable assumption from Peter Gelb that he could provide interesting insights.
• At opening night Mariusz Kwiecien was replaced by Peter Mattei, a fact many critics felt may have had significantly negative impact on Grandage´s vision.
• For the HD transmission Mariusz Kwiecien was back and it was still dull.
• Action takes place mainly in front of a set consisting of a three-tiered balcony mansion.
• The relationship between the Don and Leporello is played out interestingly, though, with the latter a lesser sophisticated mirror of the former - but no really new insights here and seen many times before.
• Musically it was superb, however.
• Mariusz Kwiecien is a classy and elegant Don with a smooth, silky baritone. Top in the world for this part, together with Peter Mattei and Gerald Finley, in my opinion.
• Luca Pisaroni presents with a roguesque, vocally solid Leporello
• Excellent house debut for Marina Rebeka - a shining clear, almost steely soprano. A first-rate Donna Anna, only a bit more dynamics in her singing and acting and she would be among the greatest.
• Barbara Frittoli is elegant as Elvira, unfortunately her vibrato has become rather wide
• Mojca Erdmann disappointed as Zerlina with irritating acting and a shaky voice. I am not at all sure she is the rising star some have made her to be.
• Joshua Bloom makes the most out of his opportunities as Massetto.
• As does Ramon Vargas as Don Ottavio - not an easy part to make interesting.
• Fabio Luisi was superb in a slow, grandiose reading of the score.

Marina Rebeka - non mi dir:

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

Mariusz Kwiecien: 5
Luca Pisaroni: 4
Marina Rebeka: 4-5
Barbara Frittoli: 4
Mojca Erdmann: 2
Joshua Bloom: 4

Michael Grandage´s production: 2
Fabio Luisi: 4-5

Overall impression: 3

Il Trovatore from The Met

Il Trovatore. DVD. Metropolitan Opera 2011. Cast: Marcelo Àlvarez (Manrico), Sondra Radvanovsky (Leonora), Dolora Zajick (Azucena), Dmitri Hvorostovsky (Count Luna). Director: David McVicar. Conductor: Marco Armiliato.

It is by no means a bad Il Trovatore, which opened 2009 at the Metropolitan Opera. A well-known production first seen in Chicago 2006, the conservatively-inclined Metropolitan Opera was not taking too big a risk giving director David McVicar his house debut. Not that David McVicar´s style is too far from what would be deemed acceptable by Met audiences: His trademark is the character development and personal direction of the singers, often done with some updating of the setting, but rarely into present times.

Accordingly, this Trovatore is updated from the 15th Century to the Spanish Liberation War in the beginning of the 19th Century, inspired by a set of etchings "The disaster of War " by the Spanich painter Goya. A dark, rotating set, effectively conveying a dark period. Not at all experimenting or innovative in terms of sets, however David McVicar´s trademark, the personal direction of the singers, is seen to full in this production with the most developed characters I have ever seen in any production of Il trovatore.

Being given four lead-singers, none of which are known to be especially fine stage actors, makes McVicars achievements even more remarkable: 50% of them are outstanding, 25% are fine and 25% less so.

Best are Dolora Zajick and Dmitri Hvorostovsky. This is simply the finest thing I have seen Zajick do on stage: Vocally the rather low-lying part is perfect for her and she has the necessary heft. But what makes her Azucena truly outstanding is her portrayal of her as a shell-shocked woman, who has become insane, probably as a result of post-traumatic stress. Far from a villain, she, too is a victim. And Dmitri Hvorostovsky, who previously has shown that he can in fact act if sufficiently inspired, is a dashing as well as dramatically convincing Luna. Vocally, he may occasionally sound a bit strained, but my guess is that few will care.
Leonora has been the calling card of Sondra Radvanovsky for almost a decade, and she will probably divide the viewers of this DVD as she does in the theater. Her Leonora is rather like a neurotic school-girl than a noble lady, however this is as valid an interpretation as any. My reservations lie with her shaky intonation (admittedly seen worse than on this DVD) and a voice that occasionally seems to be rather out of her control, though definitely large enough for the part.
Points to Marcelo Alvarez for obviously trying to act on stage and not only stand and deliver his area. But no doubt he is hired solely based on his vocal capabilities, which, admittedly he has. Radvanovsky and Alvarez in the superbly directed final scene do fine. With the more dramatically inclined singers we will hopefully see in this production the coming years, this scene will be electrifying.

Marco Armiliato is a follower, rather than a leader here, not succeeding in bringing out the nuances in the score, unfortunately.

The DVD to own? Perhaps, but Jonas Kaufmann and Anja Harteros will be appearing in the same work in Munich next year, which will probably be released on DVD as well.

Final scene:

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


Marcelo Àlvarez: 3
Sondra Radvanovsky: 3-4
Dmitri Hvorostovsky: 5
Dolora Zajick: 5


Marco Armiliato: 2
David McVicars production: 4


Overall impression: 4

Carmen at The Met

Carmen. DVD. 2010. Metropolitan Opera. Production: Richard Eyre. Conductor: Yannick Nezet-Seguin. Cast: Elina Garanca (Carmen), Roberto Alagna (Don J), Teddy Tahu Rhodes (Escamillo), Barbara Frittoli (Micaela).

Last time The New York Metropolitan Opera presented a new production of Carmen was in 1997, directed by Zeffirelli with Waltraud Meier as Carmen ("it was the most horrible time in my career"), and Angela Gheorghiu ("that wig goes on stage with or without you") as Micäela. This time around, Angela Gheorghiu was originally scheduled as Carmen, but withdrew allegedly due to private problems - i.e. her separation from husband Roberto Alagna - as of now (2012) they seem to be together again though. However, so-called "dramatic issues" also played a part in her cancellation. Understandably so. As Carmen you´d need a vocal heft, particularly in the lower register, that Gheorghiu simply does not have and furthermore in a house the size of the Met..not an obvious recipe for success, I´d say.

The current production opened on New Years Eve 2009, directed by Richard Eyre, who chose to update the story to the 1930 Spanish Civil War, thus emphasizing the political context of the piece - i.e. underlining the inherent conflicts between soldiers and townspeople. The sets are relatively simple and the story is told in a straight-forward manner. Perhaps not overly exiting or inventive, but a staging which will satisfy most audiences, not an unimportant consideration for an production which is supposed to fill the house regularly with everchanging cast members for the next 10+ years.
The replacement for Angela Gheorghiu was Elina Garanca, a vocally superb, though cool Carmen. There are simply no other mezzo-soprano today with the same beautiful even tone throughout the entire register. At no point was she strained. Some may lack a bit of wildness and spontaneity, but this is just not Garanca´s style. Garanca portraits a woman in the 1930´s, who is definitely not a vamp, but a calculating woman. As such it is difficult to fault her something. Those wanting more wildness may look forward to seeing Anita Rachvelishvili when she appears in the same production in the 2012-13 season.

As for Roberto Alagna, he really does seem to have a vocal renaissance in these years. Don José is a good part for him. If I sound less than completely enthusiastic it is simply that I have never really taken to Alagna´s style. But he does what he always has been doing, and better than in a long time as well.
Barbara Frittoli´s vibrato unfortunately has widened quite a bit the last 4-5 years, but her appearance as Micaëla is wonderful. Teddy Tahu Rhodes replacing an ill Mariusz Kwiecien with three hours notice, looks great, but vocally he does not really have the vocal qualities of a great Escamillo.
Points to Keith Miller as well for excellent characterization as Zuniga.

Yannick Nezet-Seguin is repeatedly mentioned as one of the favourites to take over after James Levine, when the latter officially resigns (these years he is barely conducting due to protracted health problems). And why not? He is a fine conductor, delivering a colourful and dynamic interpretation of the score.

For many, this could be a first choice. Alternatively, for a bit more sparkle between the protagonists, look for Jonas Kaufmann and Anna Caterina Antonacci´s 2006 version from London.


Final scene:

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


Elina Garanca: 5
Roberto Alagna: 4
Teddy Tahu Rhodes: 3
Barbara Frittoli: 3


Richard Eyre: 3
Yannick Nezet Seguin: 4-5


Overall impression: 4

Turandot re-DVD

Turandot. DVD. Metropolitan Opera 2009. Production: Franco Zeffirelli. Conductor: Andris Nelsons. Cast: Maria Guleghina (Turandot), Marina Poplavskaya (Liu), Marcello Giordani (Calaf), Samuel Ramey (Timur).

As Metropolitan HD transmissions often resulting in DVD releases, and as several HD transmitted operas already have been released on DVD, some of the new DVDs from the Metropolitan Opera feature productions already available on DVD. They did it with Manon Lescaut for no obvious reason and now again for this Turandot, again for no obvious reason. Last time around on DVD, the highlights were James Levine and Plácido Domingo. This time, the highlights are Andris Nelsons and Marina Poplavskaya.

Though somewhat dusty this is by far not among the worst of Zeffirelli´s Metropolitan Opera stagings, with quite spectacular sets for the first two acts, as I also commented in my review of the previous DVD of this production.

Maria Guleghina, has stage present and strong middle range, but entirely lacks the shining top of Lise Lindström, who in fact made her Metropolitan Opera debut in this run of Turandot, but unfortunately did not perform in the HD transmission, which eventually became this DVD release. And while Marina Poplavskaya does not have the biggest voice, she is a wonderfully moving Liu on stage. And while Marcello Giordano, as usual I´d almost say, hits the notes, the reason he is not a household name is clear: Lack of X-factor.

Interestingly, the Metropolitan Opera comprimario veteran Charles Anthony, who just died earlier this year was the Emperor, in which was his last run of performances at the Met after 57 years and more than 2900 appearances. During the intermission interview he named the debuts of Marian Anderson and Leontyne Price amongst his biggest experiences at his Met career.

Of Samuel Ramey, I´ll only say that he was amongst the very greatest basso cantantes of the century, but if he intends younger audiences to remember this, now is the time to retire.

Video clip of most of Act 2: Riddle scene to Liu´s death:

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


Maria Guleghina: 3
Marcello Giordani: 3
Marina Poplavskaya: 4
Samuel Ramey: 2


Zeffirelli´s staging: 3
Andris Nelsons: 4


Overall impression: 3

DVD: Mattila Met Salome

Salome. DVD. Production: Jürgen Flimm. Cast: Karita Mattila (Salome), Ildiko Komlosi (Herodias), Kim Begley (Herodes), Juha Uusitalo (Jochanaan), Joseph Kaiser (Narraboth). Conductor: Patrick Summers.

Jürgen Flimm´s extraordinarily successful Salome production takes place a fictional totalitarian environment on the verge of a desert. The technical wood and glass constructions of the sets leading to Jochanaan´s underearthly prison resembles the grotesque and meaningless world of Franz Kafka and this half-desert setting complete with orthodox Jews and semi-naked executioners resonates extraordinarily well with the eeriness and perversion of the piece.

When the production opened in 2003, Karita Mattila scored one of the biggest successes of the past decades at the Met as Salome.
Karita Mattila´s Salome is a spoiled child who gradually slips into insanity. In the end you cannot help feeling sorry for this sick girl, who has been raving around the sets increasingly drunk and desperate for attention. The childlike naivity of the character fits Karita Mattila´s general mix of naive and shy stage appearance uncannily well, probably a major contributing factor to her success in this role. I cannot remember having seen such a tour de force performance and with such committed acting and emotional nakedness on stage. Vocally, she hits all the notes despite of the staging requiring her to assume the most impossible physical positions. However, being around 50 years, and her voice is beginning to show strain and I believe she has retired the role from her repertoire.

As expected, the cameras closed in on Herodes face at the end of the Dance of the Seven Veils instead of filming the naked Karita Mattila on stage (as she indeed was at the Met). However, this turned out to be entirely unimportant - the emotional nakedness of her Salome was simply devastating and is without doubt one of the great operatic performances of the past decades. Though, I´d expect it to have been even better in 2003.
The rest of the cast was generally fine, Juha Uusitalo the traditional wild Jochanaan in his company debut,
Kim Begley a rather dry-voiced, but convincing Herodes, and Ildikó Komlosi a somewhat better-than-usual looking Herodias.

Patrick Summers didn´t ruin it in the pit, however some intensity and perhaps a couple of ideas would not have been way off target.

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


Karita Mattila: 5
Juha Uusitalo: 3-4
Kim Begley: 3
Ildiko Komlosi: 4


Jürgen Flimm´s production: 4


Patrick Summers: 3


Overall impression: 4

Met 2010-11 season - what do you think?

What do you think about the 2010-11 Metropolitan Opera season? Vote below. Vote ends one week from today (March 7th).

DVD: Macbeth from the Met

Macbeth. Metropolitan Opera 2008, previously shown in HD theaters. Director: Adrian Noble. Cast includes: Maria Guleghina (Lady Macbeth), Zeljo Lucic (Macbeth), Dmitri Pittas (Macduff), John Relyea (Banquo). Conductor: James Levine. Further information here.

Directed by the former manager of the Royal Shakespeare Company Adrian Noble, this Macbeth is set in the 20th century against a consistently spare and dark background, with the main focus on the sexually charged relationship between the Macbeths. Which would have worked better had Maria Guleghina or Zeljko Lucic been more sexually charged performers.
While Zeljko Lucic may sing the notes, he is distinctly uncharismatic as a performer. And while Maria Guleghina still stands at the end of this enormously challenging part, she didn´t entirely convince dramatically either. However, it is not like there are dozens of highly superior Lady´s to chose from.

There are however, several superior Banquos to chose from, buth John Relyea seems to be in everything at the Met for the moment and I wonder who they are doing a favour (hint: Not really the audience). Dmitri Pittas as Macduff was fine and furthermore showed he could cry on cue.

James Levine, on the other hand generated considerable drama in the pit, reserving his endless placidity for Wagner, it seems. A great performance from him and the orchestra.

Zeljko Lucic and Maria Guleghina after murdering the King: Fatal mia donna

Posted by Macbett0 on YouTube

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

Zeljko Lucic: 3
Maria Guleghina: 3-4

The production: 3

James Levine: 4-5

Overall impression: 3-4

Waltraud Meier as Carmen

Waltraud Meier´s performance of Carmen at the Metropolitan Opera 1997 is by many, perhaps also by herself, considered one of the low points of her career. Waltraud Meier said of the experience: "I have enormous respect for Zeffirelli, but our two styles just didn't match..The staging was folkloristic, with horses on stage and that sort of thing. It was the most horrible time, but I don't think about it any more. A mistake? Well, my philosophy is that there are no faults, only errors. You learn from your mistakes and come through knowing more."

The production was also infamous for the "that wig goes on stage with or without you"-comment to Angela Gheorghiu´s initial refusal to wear a blonde wig as Micaëla. In the end, she went on with the wig. Plácido Domingo was Don José. James Levine conducted. The whole ting was filmed, but will it also be released on DVD? Maybe not.

But what was it like? Two video excerpts are provided with Waltraud Meier´s Carmen.

Habanera:

Seguidilla:

And the wig with Angela Gheorghiu:

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DVD: Met Manon Lescaut

Manon Lescaut. Cast: Karita Mattila (Manon), Marcelo Giordani (des Grieux). Conductor: James Levine. Further information here.

Not a production adding to Peter Gelb´s image of The Met as a modern opera house, this Manon Lescaut looks mostly like the dusty interiors of a museum, and by the way has already been released on DVD decades ago with Plácido Domingo and Renata Scotto.

As Manon, Karita Mattila pretty much misses the boat sounding downright odd in her normally brilliant middle register, though once again demonstrating astonishing range of expressivity, particulary in an entirely convincing "sola, perduta, abbandonata". Partnered by committed, though perhaps not particularly elegant, singing from Marcello Giordano and a solid performance from Dwayne Croft was as voice as Manon´s brother.

All accompanied by a dynamic and spirited performance by James Levine.

And now The Met could use a new production of Manon Lescaut. Please.

Karita Mattila "In quelle trine morbide":

Metropolitan Opera 2009-10 HD season announced

Officially, the Metropolitan has announced the 2009-10 HD season:


Tosca, October 10 – Levine; Mattila, M. Álvarez, Uusitalo, Plishka

Aida, October 24 – Gatti; Urmana, Zajick, Botha, Guelfi, Scandiuzzi, Kocán

Turandot, November 7 – Nelsons; Guleghina, Poplavskaya, Giordani, Ramey

Les Contes d’Hoffmann, December 19 – Levine; Kim, Netrebko, Gubanova, Garanča, Villazón, Pape

Der Rosenkavalier, January 9 – Levine; Fleming, Graham, Schäfer, Cutler, Allen, Sigmundsson

Carmen, January 16 – Nézet-Séguin; Frittoli, Gheorghiu, Alagna, Kwiecien

Simon Boccanegra, February 6 – Levine; Pieczonka, Giordani, Domingo, Morris

Hamlet, March 27 – Langrée; Dessay, Larmore, Spence, Keenlyside, Morris

Armida, May 1 – Frizza; Fleming, Brownlee, Ford, Zapata, Banks, van Rensburg

DVD: Tan Dun The first emperor

Tan Dun: The First Emperor. Metropolitan Opera 2007. Production: Zhang Yimou . Cast: Plácido Domingo (The first emperor), Elizabeth Futral (his daughter), Paul Groves (Jianli), Michelle DeYoung (Shaman). Conductor: Tan Dun. Further information here.

There are many fine aspects to Tan Dun´s opera The First Emperor, which received its world-premiere at the Metropolitan Opera 2006: The rhythms in the instrumental sections are incisive and oriental colorite as well as traditional Chinese instruments are well integrated into a standard Western symphonic orchestra. Furthermore, elements of Peking Opera are incorporated successfully. However, when the singers start to sing, the compository quality drops markedly. It seems Tan Dun´s composition for voice is limited to extended wailing legato lines. Which do in fact seem endless, when repeated...endlessly.

In brief, the First Emperor (Domingo) orders his General to capture the composer Jianli (Paul Groves) and make him compose an Anthem in his honour. During the capture Jianlis family is killed and his village is ruined. In return, the General is promised the Emperors daughter. However, the Emperors daughter and Jianli falls in love, though the Emperor persuades Jianli to give her up temporarily. Believing she is betrayed, the Princess commits suicide before she finds out that Jianli has poisoned the General. Mad with grief, Jianli bites his tongue off in front of the Emperor, who kills him to spare him further pain. Now the Anthem is heard: It is a slave chorus, Jianli´s revenge.

Elizabeth Futral has the exact exquisite manners of an Oriental Princess, and though she is not given much to work with vocally, she makes the most of what she has. Also Plácido Domingo seemed to struggle with this eternal wailing, but has the bearing of an Emperor. Paul Groves is the only one, who occasionally is given more than endless legato lines in the part of Jianli.

The staging is rather spectacular, incorporating several elements of Peking Opera, and all could have been rather well. Had Tan Dun´s composition only been a bit less monotonous.

Plácido Domingo from the first act:

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

Plácido Domingo: 4
Elizabeth Futral: 4-5
Paul Groves: 4

Zhang Yimou´s staging: 4

Tan Dun (as conductor): 4
Tan Dun (as composer): 2

Overall impression: 3

DVD: Peter Grimes from the Met

Peter Grimes. Metropolitan Opera 2008. Production: John Doyle. Cast: Anthony Dean Griffey (Peter Grimes), Patricia Racette (Ellen Orford), Anthony Michaels-Moore (Bastrode), Teddy Tahu Rhodes (Ned Keene), Jill Grove (Auntie), Felicity Palmer (Mrs Sedley), Anthony Michaels-Moore (Balstrode). Conductor: Donald Runnicles. Further information here.

Whatever else you may think of John Doyles 2008 production of Peter Grimes for the Metropolitan Opera, shown in HD and now released on DVD, you may agree that it is dark.

Dominated by a black on black uniwall with multiple windows, from which the inhabitants of Borough peep out. The sea is far away from this Peter Grimes. The claustrophobia of Borough is tangible. As it should be, in my opinion.

Anthony Dean Griffey is a superb Peter Grimes. A relatively light tenor, providing a fascinating insights into Peter Grimes. This is not the brooding, almost menacingly haunted portrait of a Jon Vickers. Rather Griffey´s Grimes is an outsider, who only wants to belong, but doesn´t succeed. A very moving portrait.

Patricia Racette virtually shines as Ellen Orford, one of her best roles. Several of the minor parts positively lit up the stage as well, particularly Teddy Tahu Rhodes in his house debut as Ned Keene, Felicity Palmer as the pathetic Mrs Sedley and a well-sung Aunt from Jill Grove.

A major part of the success is attributable to the fine playing from the Met Orchesta in a slow, undulating reading from Donald Runnicles.

Highly recommended. Another fine recent alternative is David Pountney´s production from Zurich.

Promotional video:

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

Anthony Dean Griffey: 5
Patricia Racette: 5
Anthony Michaels-Moore: 4-5

John Doyles production: 4-5

Donald Runnicles: 4-5

Overall impression: 4-5

DVD: Hansel and Gretel in Richard Jones Met production

Hansel and Gretel. Metropolitan Opera 2007. Production: Richard Jones. Cast: Christine Schäfer (Gretel), Alice Coote (Hänsel), Philip Langridge (Witch), Alan Held (father), Rosalind Plowright (mother). Conductor: Vladimir Jurowski. Further information here.

Richard Jones´ production of Hänsel and Gretel has previously been seen at the Welsh National Opera and Lyric Opera Chicago before traveling to the Metropolitan Opera, where it was filmed live in HD last Christmas and now released on DVD.

This Hänsel and Gretel has spurred much controversy, and indeed this is no classic ginger-bread production. As with most recent Hänsel and Gretel productions, a darker, psychoanalytically oriented view is taken.

In this case, Richard Jones focus rather mono-dimensionally on hunger. In an eerie, surrealistic setting, the action transports us through three kitchens:

The normally sized kitchen of the children's poor 1950ish home, living in an abusive family with a mother trying to commit suicide by tranquilizers; The surrealistic kitchen cum dining room with living trees, distorted proportions, a grand dinner-table and grotesque chefs serving grotesque amounts of food substitutes as a magic forest; and lastly the shabbily over sized, grey kitchen of the Witch, luring the children with massive amounts of cakes, most of them fully edible, as well as throwing around monstrous amounts of food.

The danger applying such strong single-minded concept is that more often than not, the intrinsic drama of the story get lost. Luckily this is not the case here. We are still able to mentally follow the children's journey. That, children may not like it, has been an often heard criticism of this production. That depends, I suppose. I know of several children, who liked it just fine. However, there is clearly plenty for the adults here as well.

The opera was performed in David Pountney´s fine English translation, though with the level of diction of the participants, they might as well have chosen the original German version.

Petite Christine Schäfer with the almost vibrato-less voice was the ideal Grete, while Alice Coote was more standard-fare as Hänsel. Fabulously committed acting from Philip Langridge as a Witch, with the looks of a bag-lady and sweet as pie on the surface. Strong performance from both Rosalind Plowrights deranged morther and Alan Helds helden-baryton father.

Almost best of all, Vladimir Jurowski, made Hänsel und Gretel sound like Tristan and Isolde, part II.

Personally, I prefer the psychoanalytically Katharina Thalbach staging of Hänsel and Gretel from Dresden, but this Metropolitan Opera production is not a bad choice at all.

Hansel and Gretel in the first kitchen of their grey, desolate home:

At the witchs house:

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

Christine Schäfer: 5
Alice Coote: 4
Philip Langridge: 5

Richard Jones´production: 4-5

Vladimir Jurowski: 5

Overall impression: 4-5

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Long overdue: Daniel Barenboim debuts at the MET with a superb Tristan and Isolde

On Friday, November 28th Daniel Barenboim made his about 30 year overdue debut at the Metropolitan Opera conducting Tristan and Isolde.

Doing this, he was the first conductor, other than James Levine, to conduct Tristan at the Met since Erich Leinsdorf in 1974. Daniel Barenboim has brought his own cast, which includes Katarina Dalayman and Peter Seiffert in the title parts as well as René Pape.

Much discussion has focused on Peter Seifferts use of an eletronic earpice prompter. Apparently he used this ear-plug prompter for previous Tristan performances at the Berlin State Opera. I had no idea they used this kind of electronic equipment in Berlin, however, I suppose, why not?

On Tristan and Isolde, Daniel Barenboim has this to say: "Tristan is an opera about death. And it is that death, the fear of death and the looking for death as the only possible way to solve the entanglement in which they find, this is, if you want, the locomotive, the motor of the opera. There is nothing more democratic in the world than death. In the end, it comes to everyone, rich and poor, good and bad, and is one of the things that we all have to deal with. ... He who spends his life without thinking about death misses out on one of the most forceful dimensions of human existence."

Daniel Barenboim rearranged the orchestra during the rehearsals to have the wood-winds and brass to the right and the strings to the left, an arrangement he also used at La Scala last season, which obviously must have required a bit adjustments for the musicians.

Nevertheless Daniel Barenboim got glorious reviews (New York Times, Financial Times, Epoch Times. Dallas Morning News reviewed the performance with Waltraud Meier).

Of the singers of the opening night (Dalayman, Seiffert, DeYoung, Grochowski and Pape), the praise was unanimously left for René Pape, quite as expected. It may not speak top well of the qualities of the other performers, though few will disagree that René Pape is in his own class as King Marke.

As Barenboim´s chosen leads Peter Seiffert and Katarina Dalayman had cancelled numerous Tristans with him over the past two years in Berlin, neither of them were really expected to complete the run, and in this respect they fully lived up to expectations. Gary Lehman replaced Peter Seiffert on occasion, and lo! behold a miracle: Waltraud Meier replaced Katarina Dalayman once, in what was probably her only appearance as Isolde at the Met. On the other occasion the part was taken by Linda Watson.

There is no video footage of Barenboim in this production, so instead René Pape as King Marke, who, Barenboim and Waltraud Meier apart, has always been the only really compelling reason to watch this production, right from the opening in 1999:

Posted on YouTube by layne867

DVD: Metropolitan Opera Lohengrin

Lohengrin. Metropolitan Opera 1986. Production: August Everding. Cast: Peter Hofmann (Lohengrin), Eva Marton (Elsa), Leonie Rysanek (Ortrud), Leif Roar (Telramund), John Macurdy (King Heinrich). Conductor: James Levine. Further information here.

I was astonished (not in a negative way, say) by the absence of a swan in this 1976 August Everding Lohengrin production at the Metropolitan Opera. I thought a swan was compulsory at that address... at least in the pre-Robert Wilson era. Instead the light simply disappears in the corner of the sets, which are predictably traditional and dark, yet vastly superior to the Lohengrin sets at the Vienna State Opera.

Peter Hofmann´s vocal decline was obvious in 1986 (he was diagnosed with Parkinson´s disease a few years later), especially when compared to his 1982 Bayreuth Lohengrin. He certainly looks the part, but quite simply does not sing it well.

Eva Marton was Ortrud in the earlier run of this production, a part better suited to her than Eva. She is frequently flat and not overly exciting, though her vocal decline (starting about 1990-91) had not set in yet. But she is certainly no match for Cheryl Studer on both the Vienna State Opera and Bayreuth Lohengrin DVDs.

No matter how intense Leonie Rysanek´s acting is as Ortrud, she simply does not have the voice for the part lacking the necessary weight in her middle and lower voice, though surprisingly often (for her!) on pitch. I am a major admirer of Leonie Rysanek, but Ortrud simply does not suit her. And even in intensity she is no match for Waltraud Meier.

Danish barytone Leif Roar, the first Telramund I heard more than twenty years ago in Copenhagen, is dramatically excellent in a part, where you may get away with snarling and literally screaming quite a few of the exposed high notes. Though I wouldn´t mind hearing a singer able to sing them at some point..

James Levine, rather to my surprise, is masterful with this score, both spacious as well as exciting and dynamic, when called for. The irrititating superficial smoothness of his readings of Wagner´s later works (Meistersinger, Tristan, The Ring and Parsifal) is simply not here, a rather positive surprise, in my opinion.

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

Peter Hofmann: 4
Eva Marton: 3
Leonie Rysanek: 3
Leif Roar: 3
John Macurdy: 3

Everdings production: 3

James Levine: 4

Overall impression: 3

Turandot DVD: Franco Zeffirelli is almost alive..

Turandot. Metropolitan Opera 1986. Director: Franco Zeffirelli. Cast: Eva Marton (Turandot), Plácido Domingo (Calaf), Leona Mitchell (Líu). Conductor: James Levine. Further information here.

For the first two acts, the first one in particular, Franco Zeffirelli gets away with it so well, that I almost felt compelled to stop referring to him as Franco "the undead" Zeffirelli. Though, based on the tasteless final act, the term still comes in handy, though admittedly it is not very sophisticated..

What exactly makes Franco Zeffirelli deserve the label "opera director" I do not know: He designs the lavish sets and dumps authentic-costumed singers in them. A set designer in productions without a director seems more appropriate.

Needless to say, he presents a genuinely conventional Turandot. Which actually works rather well in the first two acts due to the rather fine and realistically created environment of ancient China. For the third act, the set suddenly explodes in tastelessness..

Plácido Domingo is predicably superb as Calaf, by far the best on DVD. Eva Marton gets reasonably away with Turandot, thought she would have gained much had she not been flat. Leona Mitchell´s Líu I never really warmed too, contrary to the audience.

James Levine? Superb. The structure of Puccini´s operas is something he apparently seems to have an intuitive understanding of.

In summary, not the worst of the Metropolitan Opera´s Zeffirelli productions by far. If one leaves before the third act that is, which also has the advantage of avoiding Alfano´s ending.

For a Turandot on DVD, David Pountney´s superb totalitarian nightmare will be preferred for those inclined towards a directed version of Turandot, though not for those wanting to hear/see a fine interpretation of Calaf or a memorable reading of the score.

Straniero ascolta (Eva Marton and Plácido Domingo):

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

Plácido Domingo: 5
Leona Mitchell: 3
Eva Marton: 3

Franco Zeffirelli: 3

James Levine: 5

Overall impression: 3-4

Karita Mattila´s Salome revisited - Met 2008

Salome, Metropolitan Opera, September 23th 2008. Director: Jürgen Flimm. Cast: Karita Mattila (Salome), Kim Begley (Herodes), Juha Uusitalo (Jochanaan), Ildiko Komlosi (Herodias). Conductor: Patrick Summers.


I´ve previously posted audio clips from Karita Mattila´s 2003 Metropolitan Opera Salome, as well as video clips from her Paris Salome performances.

Reviews: New York Times, Financial Times, Concertonet

A reader has sent me this excellent live report, which I will reprint unredacted:


The Jürgen Flimm production of Salome, notable particularly for Karita Mattila's star turn in the title role, opened in its first revival in New York on September 23.

The production itself is set roughly between the wars and the action is portrayed as a party at Herod's place, set in the desert. Most of the action takes place on a glass floor with a spiral staircase at the back and Jochonaans' cistern on the right side of the stage. The principals and party guests are wearing modern dress with the soldiers sporting late colonial era uniforms. The photos above give an excellent idea of the setting. The updated setting and and costumes aside the production is faithful to the libretto and while Flimm offered no distinctive insights the direction was first rate. The production itself recieved mixed reviews originally but has worn well.

Karita Mattila portrays the spoilt, capricious princess turned psychopath magnificently. Every gesture, every move, every look, every vocal inflection captures Salome's whims, desires and descent into madness. Vocally she is quite magnificent with but a couple of minor cavils. At the beginning of the opera there was a bit of strain and sharpness in the highs and register shifts were not entirely undetectable. The midrange was spectacular throughout, the bottom of the voice fantastic when called upon and as the evening wore on the whole became a seamless, lustrous glorious instrument. In sum a portrayal for the ages.

Juha Uusitalo, in his Met debut, made an excellent Jochanaan. His warm, evenly produced large bass baritone was closer in vocal distinction to Terfel than Albert Döhmen in 2004 and he portray the prophet with considerable dignity. On this hearing he would seem to be an entirely suitable Wotan for Vienna or the Met.

Ildiko Komlosi was quite excellent vocally and dramatically as Herodias, holding a bottle neck by the napkin throughout and progressing from a light buzz to complete inebriation with great conviction. Also she looked kinda hot.

Kim Begley was fine if somewhat dry voiced as Herod.

The orchestra was its magnificent self but Patrick Summers offered somewhat less detail and perhaps intensity than Gergiev 4 years ago. He was also excessively loud in a number of passages, occasionally drowning out Mattila and Uusitalo who have more than enough voice for normal accompaniment.

Mostly Ratings:

Kaita Mattila 5
Juha Uusitalo 4.5
Ildiko Komlosi 4 - 4.5
Kim Begley 2.5 - 3

Patrick Summers 3.5

Flimm production 4

Overall impression 4.5

Elektra on DVD: Birgit Nilsson and Leonie Rysanek from the MET

Elektra. Metropolitan Opera 1980. Birgit Nilsson (Elektra), Leonie Rysanek (Chrysothemis), Mignon Dunn (Klytemnestra), Donald McIntyre (Orestes). Conductor: James Levine. Details here.

Birgit Nilsson was 61 at these Metropolitan Opera performances of Elektra and understandably far from her peak, at several points strained and worn out and her pitch occasionally wavering, but it´s still more than worthwhile to get an impression of her Elektra on stage. This was one of Birgit Nilsson´s last performances at the MET (she performed the Dyer´s wife a couple of times the year after).

Though it is almost even better to see the great Austrian soprano Leonie Rysanek, also somewhat past her prime at 54, but surprisingly steady and on-pitch (she had a tendency to be very sharp) considering she had a high fever and went on stage only as a favor to Birgit Nilsson. The Chrysothemis (and Empress) from her prime still has not been surpassed or even equalled. The elegant Mignon Dunn was in fine voice as Klytemnestra. Donald McIntyre seemed rather dry as Orestes, dramatically as well.

Dramatically this performance is less convincing and the singers obviously cannot be blamed for coming from a generation where opera singers stand still on stage. Even so, the intensity that brought Leonie Rysanek much of her fame is visible.

Excellent as well as rather loud performance from James Levine, once again making one wonder why Wagner gets such a passive treatment from him, as he seems to have no problems pulling out the stops in Richard Strauss.

The production itself is very dark and cavelike and deserves no further mention.

As a document to Birgit Nilsson and Leonie Rysanek on stage this is worthwhile. To hear them both in their prime in Elektra, the broadcast of the 1966 Metropolitan Opera Elektra should be sought out.

Leonie Rysanek and Birgit Nilsson:

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

Birgit Nilsson: 4
Leonie Rysanek: 4
Mignon Dunn: 4
Donald McIntyre: 3

The staging: 1

James Levine: 4

Overall impression: 3

Anna Netrebko shines in MET Puritani DVD

I Puritani. Metropolitan Opera 2007. DVD release of the HD telecast. Production: Sequi from 1976. Anna Netrebko (Elvira), Eric Cutler (Arturo), John Relyea (Giorgio), Franco Vassallo (Riccardo). Cond: Patrick Sumners. Further details here.

Imagine being one of those potential Metropolitan Opera audience members intrigued by opera via the HD telecasts and outreach marketing strategies initiated by new MET manager Peter Gelb. Curious to know more about opera one then decides to buy an opera DVD and choses this Puritani since the only singer one has heard of is Anna Netrebko, thus imagining this to be a good introduction to opera as the contemporary art form, one repeatedly is being told that it is....

Even those unfamiliar with this Puritani production may have guessed the point I am slowly trying to make here: This is a production truly worthy of an opera museum. Opera as a contemporary art form? Not here. Even Anna Netrebko has publicly stated this to be a very dull production.

Anna Netrebko´s engaging Elvira is the only real reason to watch this as she shines in a truly engaging performance. She literally kicks the dusty sets alive. At this point bel canto afficionados tend to compare her with Beverly Sills and Joan Sutherland as well as critizing her lack of true bel canto style. Just a quick glance at the more than 100 comments accompanying the video of Anna Netrebkos Mad Scene ensures that this is not a subject to be taken lightly. I´ll refrain from commenting, as my knowledge on the subject is even less than my interest in it...

The remainder of the cast tends to stand still and deliver their lines, no doubt as intended by the director:
John Relyea´s appearance however, deceives. He looks good and is a fine actor. These two points seem to overshadow the fact that his voice indeed is rather unappealing. Of the others, Eric Cutler is as fine as any in the thankless role of Arturo.

May this be recommended? For fans of Anna Netrebko, yes.

Anna Netrebko in the Mad Scene - first part (second part may be seen here):