Vienna: Forza del destino - last DVD of Salvatore Licitra

Forza del destino. DVD. Vienna State Opera 2008. Production: David Pountney. Conductor: Zubin Mehta. Cast: Nina Stemme (Leonora), Salvatore Licitra (Don Alvaro), Don Carlo di Vargas (Carlos Alvarez), Nadia Krasteva (Preziosilla), Alastair Miles (Marchese di Calatrava).

“The power of fate” - the butterfly effect - a butterfly flashes its wings somewhere initiating a chain reaction setting events in motion somewhere else. In this case the accidental shooting of Leonora´s father by her lover Don Alvaro, which sets the action in motion.

An elegant minimalistic David Pountney production held in white, black blue, plus the odd red colours and scaffolds. If you know Pountney´s work, you´ll know what to expect. I was present in the theatre during this run of performances in 2008, and I´ll have to say it comes over better in DVD than live as the close-ups and large video projections suit Pountney.
But not only that: Nina Stemme, whom I remember as rather unpleasantly-sounding in the theatre is still not really at her best, though vastly better here than I remember her in the theatre. Nadia Krasteva looked good and feisty and came off well vocally as well. As for the gentlemen, Salvatore Licitra, since then deceased in an auto accident, sang with a warm tone while Carlos Alvarez made an effective "villain".

Zubin Mehta you may judge yourself in the ouverture /symptomatic for the take on the work) below:

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

Nina Stemme: 3-4
Salvatore Licitra: 4
Carlos Alvarez: 4
Alastair Miles: 4
Nadia Krasteva: 4

Zubin Mehta: 3-4
Poutney´s production: 4

Overall impression: 3

Zurich: Tristan and Isolde with Nina Stemme and Ian Storey

Tristan and Isolde. Zurich Opera, December 18th 2008. Production: Claus Guth. Cast: Nina Stemme (Isolde), Ian Storey (Tristan), Michelle Breedt (Brangäne), Alfred Muff (King Marke), Martin Gantner (Kurwenal). Conductor: Ingo Metzmacher. Further information here.

For this new Zurich Opera production of Tristan and Isolde, German director Claus Guth chose to play out the love affair (rather: The alleged love affair) between Richard Wagner and Mathilde Wesendonck in the Zurich villa of Mathilde and her husband Otto. An idea, which both geographically and historically makes sense. Otherwise, however, it doesn´t really make sense, as this is, of course not what Tristan and Isolde is about at all.

However, Claus Guth, previously known from productions such as Figaro and Don Giovanni in Salzburg, Ariadne in Zürich and Walküre in Hamburg, is a superb stage director creating convincing theatrical drama by simple, yet powerful images. A photo gallery from the production here.

This new Zurich Tristan and Isolde takes place in and around Otto and Mathilde Wesendoncks Zurich villa. Brängane is Isoldes psychological double, making Act One flicker between dream and reality, starting as Otto Wesendonck (King Marke) takes leave of his wife (Isolde) in the bedroom upon which the entire act is framed.

For the second act, the bourgeois party of the Wesendoncks, characters intermittently freezing, while Tristan and Isolde circle each other as well as King Marke within shades of blue make for compelling images. The revolving stage is spun around continuously to reveal the various rooms of the Wesendonck villa culminating with Tristan and Isolde being exposed in front of Otto and his friends in the gentlemen-only cigar room during said party. For King Marke, there may be a happy end to the story as he ultimately reaches out to Brangäne after Isolde collapses next to Tristan at the lavish dinner table, following Tristan and Kurwenals long Third Act Scene, which takes place right outside the villa.

Again, conceptionally this is hardly what Richard Wagners Tristan and Isolde is about. But it nevertheless makes for rather compelling theater.

Ian Storey´s Tristan has previously been heard at La Scala, where he made his debut in the part in 2007 (also released on DVD) and at the Berlin State Opera. As on those occasions, Ian Storey does look the part. Here in Zurich he was audibly indisposed, coughing several times during the second act duet. And as a house representative appeared in front of the curtain before the third act, stating that Storey was indisposed, but would nevertheless continue, you knew you were up for some genuine Act 3 drama: Could he make it until he died? Yes, but only just. Indisposed or not, Storey´s Tristan was much similar to the above two occasions, with a vibrato too heavy for my taste. But, as said: He does look the part, which certainly counts for something.

Nina Stemme has become a much celebrated Isolde, after making her 2003 Glyndebourne debut in the part (available on DVD). And I would say approximately 95% of a random sample of the audience though her Isolde was entirely compelling. I belong to the 5%, who have never really taken to Nina Stemme´s voice, which has become increasingly dry and with a widened vibrato over the past years. That said, she certainly can sing the part, complete with effortless high C´s, though entirely effortless it was not for her. Furthermore she is a very convincing actress, radiating considerable warmth on stage. But no doubt, she does tear on her reserves with Isolde.

Of the rest Martin Gantner made a very convincing Kurwenal, Michelle Breedt a somewhat shrill Brangäne. Alfred Muffs King Marke was rather strange, either he was sharp or flat, virtually never on pitch and with a very uneven vibrato.

Ingo Metzmacher presented a fascinating reading of the score. With clarity obviously being a major aim, he relied heavily relying on the wood-winds and provided myriads of details I cannot remember ever having noticed before. A rather brisk reading, as well. Immensely different from the approaches of the likes of Barenboim and Thielemann, but nevertheless more than valid.

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

Nina Stemme: 4
Ian Storey: 4
Michelle Breedt: 3
Alfred Muff: 2
Martin Gantner: 5

Claus Guth´s concept: 5

Ingo Metzmacher: 4-5

Overall impression: 4

Der Rosenkavalier on DVD: Nina Stemme, Vesselina Kasarova and Malin Hartelius in Zurich production

Rosenkavalier. Zurich Opera House 2004. Production: Sven-Eric Bechtolf. Cast: Nina Stemme (Marschallin), Vesselina Kasarova (Octavian), Malin Hartelius (Sophie), Alfred Muff (Ochs). Conductor: Franz Welser-Möst. Further details here.

The staging is modern, but opposed to Robert Carsen´s superb Salzburg production from the same year I simply don´t understand Sven-Eric Bechtolf´s concept:

It begins in a white Japanese-style room with a few naked tree trunks and big windows making up one of the walls. The Marschallin and Octavian seem to be of the same age - possibly because Nina Stemme is a conceptionally rather young Marschallin.

For Act 2 we are in a kitchen, complete with traditionally clad chefs. Apparently Sophie is some sort of maid (but clad in a shining dress), who hides behind a door when Octavian arrives to present the Rose. Fitting into the surroundings, Octavian ends up hurting Ochs with a kitchen knife.

In Act 3 we are back in the initial white Japanese room, where a tent has now been erected and Ochs is served by servants wearing beetle masks. The Act 3 ensemble is a mixture of chefs, beetle servants, sevants with wings, skeletons and Mariandel in a fairy-tale princess dress with a half-moon shaped diadem...

The unifying concept: I honestly cannot tell.

Malin Hartelius is a superb Sophie, with ethereal high notes and convincing as the naive girl, who stands up to Ochs as well. Also Vesselina Kasarova is among the very best Octavians - beautiful, with an entirely unstrained voice as well as funny.

While the Marschallin is better suited to Nina Stemme than her heavy Wagnerian roles (read: Isolde), she still has a timbre I don´t take to and her voice has clearly deteriorated over the past few years. Furthermore, I see none of the worldly wisdom and varied acting of the great Marschallin´s here.

Franz Welser-Möst conducts a fine performance, but unfortunately the DVD competition is exceptionally strong - Carlos Kleiber and Semyon Bychkov both with the Vienna Philharmonics as well as Georg Solti from Covent Garden.

For a modern production of Rosenkavalier, Robert Carsen´s 2004 Salzburg production is strongly recommended. For a traditional Rosenkavalier one of the Carlos Kleiber-conducted Otto Schenk productions (I´d personally prefer the one from the Vienna State Opera) or the Georg Solti-conducted production from Covent Garden are the top available choices.

Vesselina Kasarova, Malin Harterlius and Nina Stemme with Hab´s mir gelobt:

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

Nina Stemme: 2-3
Vesselina Kasarova: 4
Malin Hartelius: 5

Sven-Eric Bechtolf´s prodution: 2

Franz Welser-Möst: 4

Overall impression: 2

Vienna State Opera: La Forza del Destino

La Forza del Destino. Vienna State Opera, March 19th 2008. Production: David Poutney . Cast: Nina Stemme (Leonora), Salvatore Licitra (Alvaro), Carlos Alvarez (Carlos), Alastair Miles (Marchese and Fra Guardiano), Nadia Krasteva (Preziosilla). Conductor: Zubin Mehta

Due to my arrival 3,5 hours before the start of the performance, I got standing room ticket number 11, which secured me a place at the first row of the Japanese-tourist-filled standing room space with the best view in the house for this evenings performance of Forza del Destino at the Vienna State Opera. The heavy Japanese standing room presence at the Vienna State Opera is in fact very positive, since it´s my impression based on several visits, that the Japanese visitors are dead-quiet during the performance as well as polite and observant of the rules which is more than may be said for quite a few others. And many were visibly impressed by the auditorium and surroundings (I even spotted my standing-room neighbor taking a high-resolution picture of her cake and cup of coffee during the intermission – I do agree they serve beautiful cakes here by the way…)

To the point: David Pountney´s stylish new production of La Forza del Destino, which only opened a couple of weeks ago, is based on the idea of coincidences as phenomenons, which make people come together and with unforeseeable consequences. This point was made clear from the beginning of the ouverture with a video projection of a butterfly basking it wings, setting a wheel in motion which finally leads to a bullet, led astray by coincidence and shooting the Marchese di Calatrava so the blood splatters down the screen. This video section is shown several times during the opera on a semi-transparent screen in front of the stage, meaning that even I, for once, got the point without having to read the programme notes…. Furthermore, Pountney sees this opera as a mixture of tragedy and comedy, the comic aspect being the glorification of war present in the scenes with Preziosilla (this I did get from the program notes, however). The main visual element of the production was a declining white wooden platform making it up for the initial as well as last scene. Sets were very simple, only adding a few white constructions on top of the basic ones for the war scenes. Soldiers were dressed up as red-clad cowboys led by Nadia Krasteva (Preziosilla) showing she can do splits as well as sing.

As a courtesy to the two male leads (allowing Alvaro and Carlos a longer break between their two duets) the order of the Act 3 scenes were reversed. Furthermore Guardiano and Marchese Calatrava was sung by the same singer (Alastair Miles), allegedly to imply that both figures act as fathers for Leonora.

I actually find Pountney´s point of coincidences quite good: Does any opera have an equally unlikely course of events? In my opinion, this beats even Trovatore. I mean: Of all the cloisters in medieval Europe, Alvaro chooses to settle at the one where Leonora is living as a hermit in the woods? And of all possible places to duel, Carlos and Alvaro choose the place precisely outside her hut? Not to talk of them running into each other with Alvaro saving Carlos´ life during the war. And I am not even mentioning the bullet issue. But then, on a purely personal level, I met my brother in a completely deserted back alley of Vienna walking back from a Parsifal performance last spring – and none of us even knew that the other was going to be in Vienna at all. How likely is that? The point being: Coincidences do happen….

Unfortunately I feel that Nina Stemme´s voice is currently developing in a unfortunate direction: During the last couple of years it has become increasingly strained, and as tonight's Leonora she displayed a quite obtrusive wobble in her middle as well as high register. It is genuinely a shame, since she has such other fine qualities, such as the ability to generate vocal drama and a convincing stage presence. But she was warmly received by the audience. Nadia Krasteva, despite looking really good and doing some awesome splits, didn´t seem completely at ease with Preziosilla either. Alastair Miles was a rather dry-voiced Guardiano/Marchese di Calatrava. On the positive side, the male leads did really well: Salvatore Licitra was light-years better than in the miserable Ballo di Maschera-broadcast this January from the MET: He both sang and acted convincingly and with plenty of warmth. And perhaps the biggest applause of the evening well-deserved went to Carlos Alvarez as a vocally secure and dramatically convincing Carlos.

Now to the Vienna State Opera Orchestra: I simply don´t think they played up to their best. Zubin Mehta obviously took a lighter, less fluently approach to the score, but even then the orchestral sound at several points sounded just shallow and forced…

In the monthly Vienna State Opera magazine, Zubin Mehta talked about the superstition associated with Forza del Destino and was quoted as saying that Pavarotti didn´t even allowed him to play the Forza ouverture in their concerts together for superstitious fears of evil, not the least since this is the opera on which baryton Leonard Warren died on stage at the Metropolitan Opera. Both Pountney and Mehta stated that they did not believe in fate.

Glyndebourne Tristan on DVD: Brilliant orchestra in a static production with superb singing mainly from Pape and Skovhus

Tristan and Isolde. Glyndebourne 2007. Production: Lehnhoff. Cast: Nina Stemme (Isolde), Robert Gambill (Tristan), René Pape (King Marke), Bo Skovhus (Kurwenal), Katerina Karneus (Brangäne). Conductor: Jiří Bělohlávek. Further information here.

Nikolaus Lehnhoff´s production of Tristan and Isolde, seen for the first time in Glyndebourne 2003 and revived 2007, is both beautiful and aesthetic. A (semi)-abstract staging, it is set on and around a semicircular womb-like set of rings on a backdrop of changing colours within the blue-white-red color spectre on which the characters move slowly around.

In theory, an excellent backdrop for a meditative approach aiming to expose the inner roots of this work. However, I was left with an impression of a static piece as opposed to a flowing and dynamic one and the concept provided me with no insights into the characters motivations or actions. Dynamic interaction or exploration into the motivations of the characters clearly is not high on Lehnhoff´s agenda. Compared what Patrice Chéreau may achieve with the piece, one cannot help feeling disappointed with Lehnhoff.

Swedish soprano Nina Stemme made her debut as Isolde when this production was new in 2003 to major international acclaim. And she is indeed a fine Isolde, both warmly sung and finely characterized, both vocally and dramatically. However, a shrill quick vibrato mares the upper mid-range of her voice, becoming increasingly disturbing under pressure, which prevents me from fully enjoying her interpretation. And though a fine actress, I miss a certain capacity to go over the edge. Nevertheless, Nina Stemme sings the part well and is vastly superior to 99,9% of the Isoldes on the circuit today, that is : Everyone except Waltraud Meier. Something you unfortunately cannot say of Robert Gambill, who simply disappoints as Tristan, both vocally and dramatically, even without expecting anything like a Melchior-level performance.

The real highlights are René Pape´s marvellous King Marke followed by Bo Skovhus´ fine Kurwenal, who also succeeds in appearing alive in this production as opposed most of the other protagonists, René Pape excepted. Katerina Karneus made a fine Brangäne as well, with a firm and round voice.

And then the magnificent playinh from the London Philharmonic Orchestra superbly conducted by Jiří Bělohlávek. Rarely have I heard such inspired and magnetic orchestra playing in this repertoire, especially from a non-Germanic orchestra. I am embarrassed to admit to my limited knowledge of the London Philharmonic Orchestra. Jiří Bělohlávek made the music flow, had attention to detail without being tedious and succeeded in creating the long lines, making the piece come alive.

A 60-second highlights of the DVD may be seen here:

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

Nina Stemme: 4
Robert Gambill: 2
René Pape: 5
Bo Skovhus: 4-5
Katerina Karneus: 4

Lehnhoff´s production: 4

Jiri Belohlavek´s conducting: 4

Overall impression: 4

DVD: Zurich colonial Aida with Nina Stemme and Salvatore Licitra

Aida. Zurich Opera 2006. Production: Nicolas Joël. Cast: Nina Stemme (Aida), Luciana d´Intino (Amneris), Salvatore Licitra (Radames), Juan Pons (Amonasro), Matti Salminen (Ramfis), Günther Groissböck (The King). Conductor: Adam Fisher. Further information here.

No question that Aida is a tremendously difficult opera to stage. On one hand there are the directors opting for recreation of the old Egyptian splendour, which almost invariably end out looking ridiculous or overstuffed. On the other hand, there are the directors updating Aida, which also more often than not fail, due to the very tight period-specific connection of the plot.

A recent staging in Berlin successfully updated Aida to take place in an 19th Century Egyptian museum around the time of its creation.

Also French director Nicolas Joël opts for setting this Zurich Aida around its time of creation in colonial Egypt to "attempt to give it back its true signification of bourgeouis and exotic drama" according to NJ from the accompanying booklet, who continues "bringing Verdi´s masterpiece closer to the historic beginning of this movement [imperialism of the Middle East] allows us to better understand this opera, but also, we hope, to give life to the characters that the composer´s genuis places far above comic books and photo stories".

Does it work? Not really, I have to say. Even the colonial sets seem overstuffed and old-fashioned. But neither does it ruin the piece entirely.

For those not bothered by Nina Stemmes vibrato, as I am, she will undoubtedly make a great Aida: Warm, engaged and with the required vocal heft.

Salvatore Licitra is passable as Radamés, but no more than that. Luciana d´Intino is a true Verdian spinto mezzo, and had she been a more compelling stage actress she would have been a really great Amneris. Juan Pons unfortunately he is way past his prime as Amonasro.

Undoubtedly, quite a few will be irritated by the split-screen images used throughout, without apparent reason, as the Zurich stage is small enough to be incorporated into a single frame.

Nina Stemme with O patria Mia:

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

Nina Stemme: 4
Luciana d´Intino: 4
Juan Pons: 2
Salvatore Licitra: 3
Matti Salminen: 4

Nicolas Joëls production: 3-4

Adam Fisher: 3

Overall impression: 3

Video by GrandTierBox on YouTube

DVD: Nina Stemme in Jenufa

Jenufa. Liceu Barcelona, 2005. Production: Olivier Tambosi. Cast: Nina Stemme (Jenufa), Eva Marton (Kostelnicka), Jorma Silvasti (Laca). Conductor: Peter Schneider. Further information here.

This is a DVD of the same Olivier Tambosi production of Jenufa, that played earlier this season at both the Los Angeles and Metropolitan opera houses and has previously been seen in Hamburg and Barcelona, where this DVD was recorded live in 2005.

The center of the production is a stone symbolizing Jenufa´s troubles/baby: Just appearing from beneath the earth in Act one, mighty overshadowing everything in Act two and shattered to pieces in Act three. Anyone with a basic course in psychoanalysis may join in here.

Otherwise the sets are simplistic and make a fine backdrop for the action and highlights why this is a masterpiece: Janacek´s detailed characteristics of the protagonists both in words and music are almost unrivalled.

The protagonists are first-rate with Nina Stemme (Jenufa), Eva Marton (Kostelnicka) and Jorma Silvasti (Laca).

There is something in the colour of Nina Stemme´s voice, which has never appealed to me, though this should take anything away from her performance, which was both deep felt and moving. And she has excellent chemistry with Eva Marton´s both well-sung and excellently acted Kostelnicka, a prerequisite for a successful performance of this opera. The first really good performance I´ve heard from Eva Marton since her voice started to deteriorate almost 20 years ago. Just as long as she stays with Kostelnicka and doesn´t return to Ortrud.

My main problem with this DVD lies with the Peter Schneiders orchestra, which is unfortunately rather unspectacular and no math for Andrew Davis London Philharmonics on the only alternative Jenufa DVD from Glyndebourne 1989.

Which of the two versions to prefer is, as always, a matter of taste: Lehnhoffs Glyndbourne production is fine, though psychoanalytically claustrophobic and Roberta Alexander may not match Nina Stemmes engagement, though she is a fine Jenufa.

What I would really wish for, however, is a version with Karita Mattila and a first-rate Janacek conductor. I suppose this DVD release unfortunately precludes the release of the Metropolitan production with Karita Mattila and Anja Silja as it is the same production.

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

Nina Stemme: 4
Eva Marton: 4
Jorma Silvasti: 4

Olivier Tambosi´s production: 4

Peter Schneider: 3

Overall impression: 4

Vienna: New Walküre in which Uusitalo looses his voice

A nightmare for Finnish bass-barytone Juha Uusitalo: At the premiere of Walküre, the first installment of the new Ring at the Vienna State Opera , Uusitalo was apparently singing with a cold and lost his voice during the Monologue. In the third act he could only whisper, and Oskar Hillebrandt, seemingly in the process of eating a pizza at the Westbahnhof, was brough in to sing the remainder of the part. Terje Stensvold, an excellent Wotan, is scheduled as Wotan in the next performance on Thursday.

The production is by Sven-Eric Bechtolf. Franz Welser-Möst conducts. The cast: Nina Stemme, Eva Johansson, Juha Uusitalo, Johan Botha and Michaela Schuster.

Reviews:

Der Standard thought the staging to be uninspired and naive in the conception. However particular praise to Johan Botha and Nina Stemme as the Wälsung twins.

Financial Times also was rather unimpressed with Bechtolfs staging, but even less impressed with Holender´s tackling of Uusitalo´s lost voice. Quote:

"Holender was greeted with storms of boos, a reception not inappropriate for a man who had failed to organise an understudy for the opera’s heaviest role. He held up both hands and talked. When he had hired Uusitalo four years ago, the man had been in fine voice. He has sung the role well in other houses. He was fine at the dress rehearsal. He, Holender, had advised Uusitalo to be more careful with his voice in the last rehearsals. Oskar Hillebrand had answered his mobile phone and agreed to sing the part from the pit, while Uusitalo acted his role silently on the stage, a solution that he, Holender, did not especially like, but what else can you do with such a production?The boos were tamed, but the cost was high. Uusitalo was just having a bad night. It can happen to anyone."

Walküre in Stockholm

Waiting for the complete Stockholm Ring, which will show in January 2008, here is my take on the Stockholm Walküre, which I attended last October at the Royal Opera in Stockholm:

Director Staffan Valdemar Holm´s take on this work (based on this Walküre) is largely psychoanalytic. He is not interested in politics and human evolution, but creates a world very similar to what I would´ve imagined to be that of Strindberg and Ibsen. The scenography is by Bente Lykke Möller and the setting is middle to late 19th century, ie. Wagner´s own time.

The first act is takes place in a large kitchen, with dinner plates on the wall, and reminded me distinctly of Nora´s world in Ibsen´s “A doll´s house”. Second act takes place in a room with 19th century romantic paintings on the walls and a pool table in the middle. The room is dark, and through the windows the snowclad mountains can be seen. It´s almost too much Strindberg. The Valkyries were all clad in black dresses in the same dark room with concrete walls and the same windows. Dressed as in the 1850´s (pictured at the bottom of the page).

The cast was quite good: Nina Stemme was wonderful as Sieglinde, Hans-Peter König had the voice for Hunding, but is not a very menacing stage present (as in his Bayreuth Hagen), Endrik Wottrick was a shrill and disappointing Siegmund (as he was in Bayreuth this year), while Martina Dike made a fine Fricka. I had really looked forward to Katarina Dalayman´s Brünnhilde – she seriously has potential to be really outstanding in this part - unfortunately she had cancelled the performance and was replaced by the vocally inadequate and not very interesting Carolyne Whisnant. Terje Stensvold made an excellent Wotan. I continue to be amazed at this man, who started his international career in his end-50´s after 30 years of (relative) anonymity at the Royal Norwegian Opera. And next year he has several engagements in London, Vienna and Berlin lined up. His voice was huge and quite steady throughout the entire range.

German conductor Gregor Bühl was conducting the Royal Swedish Opera orchestra. And disappointingly, the orchestra did not seem to perform according to international standards. Curiously, loudspeakers were placed on the wall next to our seats and they were transmitting the orchestral sound with about ½ seconds delay – which was extremely annoying. The orchestra sounded flat and uninspired throughout, which is my major reservation with this Stockholm Ring so far.

To summarize: The singers generally belong to the top-end of “the usual suspects”, the director´s concept seems interesting, but the orchestra did not quite match the other aspects of the production. Hopefully this will have improved before the premiere of the complete cycle in January.

By the way, the Stockholm opera has implemented the e-tickets, which you may order via internet and print out at home. Excellent service for out of town visitors.


All photos by: Mats Bäcker