Renée Fleming is Arabella in Paris

Arabella. Paris Opera Bastille. June 17th 2012. Production: Marco Arturo Marelli. Conductor: Philippe Jordan. Cast: Renée Fleming (Arabella), Michael Volle (Mandryka), Julia Kleiter (Zdenka), Joseph Kaiser (Matteo), Kurt Rydl (Waldner), Doris Soffel (Adelaide), Iride Martinez (Fiakermilli).


Renée Fleming obviously has reached a level where she can chose which directors to work with, apparently preferring to work in stylish, minimalistic production straying not too far from the libretto. Thus a couple of years ago she was a quite superb Cappriccio Countess in Vienna in a production of Marco Arturo Marelli, also behind this new production of Arabella at the Bastille Opera in Paris. Here, however, she was somewhat  less than superb and her performance underlined an evolution, which has become increasingly visible in her performances during the past years, at least in Richard Strauss operas:

First of all Renée Fleming is definitely not in her vocal prime anymore. Much of the bloom of her top register has gone, and her middle register, by some still called creamy, is far from creamy now with a timbre, which simply does not appeal to me.

Secondly, I have some issues with her performance style. Some call it mannerisms. In my native Danish language there is a very good word for it, which directly translated read affected. Affected language, affected acting. Renée Fleming may aim to communicate sophistication, as she applies the same style with her Marschallin in Rosenkavalier, however ultimately she portrays Arabella as a superficial character. Which, on the other hand, is a valid interpreation, of course, if not the libretto and music suggest otherwise.
She was audible, but not audible enough for me to actually distinguish the words she was singing.

However, however...for those not familiar with Renée Flemings previous vocal status, and even for those well familiar with it, it is easy to understand why she is admired and received huge ovations here: She has a firm grip of Straussian style and first and foremost she has a distinctness to her performance that really does make her stand out. On a technical point, some may find her use of portamento excessive, though personally I do not mind.

And finally, despite my reservations about her voice, she is still among the very finest around. Who today, can perform a finer Arabella? Adrienne Pieczonka in Vienna a couple of years ago was rather superb. Anne Schwanewilms undoubtedly also. But else?

Michael Volle, on the other hand, I don´t have any reservations about. He was simply superb, vocally strong, a straightforward and engaging stage actor, convincingly portraying Mandryka as a sincere man unfamiliar with the sophisticated Viennese way, but thankfully without the overacting often seen. Several of his scenes were in fact unusually moving.

No reservations about Julia Kleiter neither, a clear and pure voice, almost overpowering Renée Fleming at times. Just as fine as her Zdenka on the 2007 Zurich Arabella DVD, alongside Renée Fleming as well.

Despite fine singing I have always found Joseph Kaiser, a bit indistinctive as a performer. Here as well. Finally Kurt Rydl and Doris Soffel were feisty as the elderly couple.

Marco Arturo Marelli´s production was superb. Stylish, minimalistic and elegant. A naked white room with some furniture (gradually removed), a built-in white circular stage and some sliding doors.

Philippe Jordan conducts Arabella like it was Elektra, emphasising the contrasts and highlighting the darker thematic elements of the score to a degree I haven´t quite heard before. 

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

Renée Fleming: 4

Michael Volle: 5

Julia Kleiter: 5

Joseph Kaiser: 4

Marelli´s production: 5

Philippe Jordan: 4

Overall impression: 4

Baden-Baden Lehnhoff Tannhäuser with Waltraud Meier, Stephen Milling, Philippe Jordan

Tannhäuser. DVD. Festspielhaus Baden-Baden 2008. Deutsches Symphonie-Orchester Berlin conducted by Philippe Jordan. Nikolaus Lehnhoff (Director). With Robert Gambill (T), Camilla Nylund (E), Waltraud Meier (V), Stephen Milling (G), Roman Trekel (W).

Baden-Baden, a bit further south-east from Bayreuth was one of the locations, Richard Wagner initially considered for his Festival House, and the Wagner performances here has recently tended to outshine those of the proper Bayreuth Festival. The year of 2008 was no exception, at least regarding the ability to attract top singers.

Audiences here have gotten used to Nikolaus Lehnhoff, having already staged Lohengrin and Parsifal here in previous years. And in comparison, he seems to have run out of ideas for this Tannhäuser.

A spiral staircase appears throughout the semi-abstract sets where the period-styled actors appears. Aesthetic as always with Lehnhoff, but is there a deeper meaning. Knowing Lehnhoffs work, the answer most probably is yes, however I didn´t manage to find out what it was.

While Robert Gambill looks reasonable, they days where he could actually sing Tannhäuser are long gone.
Camilla Nylund´s Elisabeth verges on the too mature and though she looks the part I wonder if she really moved the audience. Though Venus, with the sumptuous singing really is not among the best parts for Waltraud Meier from a vocal part of view, no-one looks and acts the part better as she does, thus it is no surprise that this is the second Tannhäuser DVD with her participation.
Stephen Milling in a Landgraf his prime and however golden Roman Trekel is dressed up cannot hide the fact that his voice does not have the innigkeit and beauty of a really good Wolfran.

Philippe Jordan was swift and effective, though perhaps not transporting.

Apart from Rokoko-Meier, a relatively static affair. Admittedly, Tannhäuser is not an easy work to pull off and the ideal DVD is not yet on the market.

However, for those inclined to watch traditional productions, the Metropolitan Opera Tannhäuser is probably the best of Otto Schenk´s Wagner stagings.

Trailer:

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


Robert Gambill: 2
Waltraud Meier: 4-5
Camilla Nylund: 3-4
Roman Trekel: 2
Stephen Milling: 5


Lehnhoffs staging: 3
Philippe Jordan: 4


Overall impression: 4

Paris Forza del Destino

La forza del destino. Paris Bastille Opera, November 28 2011. Production: Jean-Claude Auvray. Conductor: Philippe Jordan. Cast: Violeta Urmana (L), Marcelo Alvarez (Alvaro), Vladimir Stoyanov (Don C), Nadia Krasteva (Preziosilla), Kwangchoul Yun (Padre Guardiano), Nicola Alaimo (Fra Melitone)

In summary, the Bastille Opera has presented  us with and entirely unconvincing staging of Verdis La force du destin, both dramatically and vocally a major disappointment.

To begin with the staging, Auvray transposes the plot to the 19th Century and to a stage with occasional backdrops of paintings being the only decorations in the very dark and naked sets. Not an unreasonable approach, as such, however, with austere sets like, much relies on the singers ability to convince dramatically.

Vocally, Violeta Urmana, a former mezzo-soprano, is simply too heavy, with a strained top without bloom and spirit. Marcelo Alvarez, whose acting skills are never above the mediocre, here falls considerably below mediocre, with stand-and-deliver acting, and dispirited vocal delivery (though he does hit the notes relatively unstrained). While it may have worked (to a certain extent) for Pavarotti, vraiment, ca ne suffit franchement pas monsieur Alvarez.
Vladimir Stoyanov was simply monotonous and uninteresting, Nadia Krasteva was rough-voiced and unsophisticated. The only cast member infusing a bit of life into this production was Nicola Alaimo as Fra Melitone.
The biggest applause, deservedly went to conductor Philippe Jordan, though to lift this dead-weight production would be beyond the means of any conductor.

The production clearly benefited from being transferred to television, but in the auditorium it was dismal evening, that never seemed to end.

L´Opera de Bastille peut et doit mieux faire. Bonne nuit a tous.

The final scene:

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

Violeta Urmana: 2
Marcelo Alvarez: 3
Vladimir Stoyanov: 2

Production (Auvray): 2
Philippe Jordan: 4

Overall impression: 2

DVD: Vienna Werther with Elina Garanca

Werther. Vienna State Opera 2005. Production: Andrei Serban. Cast: Marcelo Àlvarez (Werther), Elina Garanca (Charlotte), Adrian Eröd (Albet), Ileana Tonca (Sophie). Conductor: Philippe Jordan. Further information here.

Adrian Serban uses a unitary set for this acclaimed Vienna State Opera production of Werther. Dominated by a big tree, appropriately serving to anchor the characters as well as to show the passing of time with the changing leaflets. Serban´s Werther is a psychological drama about conventions and relationships. As relevant as ever. Appropriately set in the conservative 1950´s. dominated by a big tree.
"I have always done my duty", Charlotte says a some point. And that is the real tragedy of Werther - that Charlotte does not have the courage to break with conventions and leave Albert, or at least have a hidden affair with Werther.

Elina Garanca is simply perfect as Charlotte - vocally superb, with that hint of coolness in both voice and dramatic presence ideal for Charlotte. And her voice really is extraordinary even and smooth throughout the range. I believe this part was her major international breakthrough - most deservedly so.

Fine performance from Marcelo Àlvarez as Werther, though he lacks the last inch to be believable dramatically as Werther, something I am convinced Rolando Villazón will have in spades for the June 2009 revival (if on top Villazón will be as vocally secure as Àlvarez, he will be perfect).

Albert´s part (fine performance by Adrian Eröd) was expanded as he overhears/sees one of the exchanges between Werther and Charlotte, adding to the credibility of his anomisity towards Walther. Same for Sophie (equally fine turn-out for Ileana Tonca), who quite visibly is in love with Walther, but, like Charlotte, is afraid to admit her feelings.

Splendidly accompanied by Philippe Jordan, in a refresningly unsentimental, though still poignant reading.

Elina Garanca/Marcelo Àlvarez from Werther Act 3:

Posted on YouTube by marcelissimo

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

Marcelo Àlvarez: 4
Elina Garanca: 5
Adrian Eröd: 4

Andrei Serban´s production: 5

Philippe Jordan: 5

Overall impression: 5

Overall impression: 5

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

Capriccio in Vienna: Opera magic

Capriccio. Vienna State Opera. June 21th 2008. Director: Marco Arturo Marello. Conductor: Philippe Jordan. Cast: Renée Fleming (Countess), Bo Skovhus (Count), Angelika Kirchschlager (Clairon), Michael Schade (Flamand), Adrian Eröd (Olivier), Franz Hawlata (La Roche). Further information here.

In brief: Marco Arturo Marello´s new Capriccio at the Vienna State Opera is a perfect synthesis of all the elements of an opera production, creating the exact kind of theater magic you hope for every time you go to the opera, but which you may experience only a handful of times throughout an entire operatic life..

The Vienna press has been overflowing with praise for this production as well as for Renée Fleming´s Countess with phrases like ”best new production at the Vienna State Opera since I do not remember when”, ”Renée Fleming is the Countess of Richard Strauss´ dreams” etc. For once, I completely agree.

Marco Arturo Marello clearly sees Capriccio as a conversational piece (as did Richard Strauss). The staging is exquisitely beautiful, opening and ending with the two combatants (poet and musician) set at tables at each side of the stage, gradually flashing back the action to an imaginary baroque setting with glitzy costumes having the Countess, Count and Clairon move around in between an interchanging background of mirrors and baroque paintings. With the final scene taking place in a beautiful mirror-covered bluish room with a piano (pictured above). Is it traditional? No, not really. First of all, it is edgy, but also light. But most importantly, it is never sentimental.

For me, Renée Fleming´s appeal has never been the beautiful voice as an isolated phenomenon, and sometimes (yesterday as well) I find her sound to be too covered, bordering on the nasal in her middle-upper register, an artistic choice I suppose, as she didn´t sound like this 8 years ago. But my fascination with Renée Fleming is based on the complete package she delivers: Her exquisite, poised and elegant stage appearance and (most importantly) just genuinely moving dramatic abilities, combined with exquisitely phrased singing and legato lines. And she more than lived up to the ridiculously high expectations surrounding her first appearances at the Vienna State Opera since 1995.

In short, Renée Fleming´s Countess was completely fascinating. First of all, she was in superb voice. And she once again showed really why she primarily is a Richard Strauss soprano – the exquisite phrasing, the legato lines.. and not least, the superbly varied acting: She was both funny, elegant and stylish, but here (with Bo Skovhus) also decadent and childish, showing more edge to her acting that I´ve previously experienced.

But what fascinated most was in fact the way she was singing: A completely different interpretation compared to her 2004 Paris Countess. Here in Vienna, her interpretation went fully along with Marello´s concept of Capriccio as a conversational piece and she emphasized the sprech-gesang element throughout the evening, at the expense of creating a creamy sound, but instead gaining considerable edge to the characterizaion, indeed conversing with the others on stage (and quite clearly being more sympathetic towards the composer as opposed to the poet).

That Renée Fleming did not insist on flashing the beautiful voice in a house where she had not performed in 13 years, in my opinion testifies to her commitment as a serious artist. In fact, I have never before heard Renée Fleming sing like this anywhere, sacrificing the optimal sound in order to gain in characterization. A positive surprise, indeed. Only in the second half of the closing monologue did she apply the full force behind the voice and create her usual sound.

In the magazine of the Vienna State Opera, she mentioned the 51 roles she had been singing, and her wish to concentrate on a few of those (Tatyana, Marschallin and Countess) rather than learning new ones for the future. But she DID mention a desire to sing Ariadne in the future, and also Elsa in Lohengrin, as the only two potential new roles.

But this was not only Renée Flemings night. It was a genuine team effort.

Bo Skovhus was absolutely hilarious as a hypomaniac, half-neurotic (fully intentional) Count. He emphasized the sprech-gesang element as well, and fluttered around the stage constantly engaging the others in the action whether singing or not, demonstrating a considerable comical talent. And while his chemistry with Angelika Kirchschlager was somehow lacking (intentional or not?), it was superb with Renée Fleming, the two of them moving around on stage like spoiled, decadent children.

For some reason, Marello made the Clairon of Angelika Kirchschlager (a very beautiful woman) quite masculine and un-sexy, mimicking one of Kirchschlagers usual pants roles, her shiny pants almost symbolically visible under the dress at almost all points and bossing around with everybody. All done in splendid voice, clearly demonstrating why she, in my opinion, is the best mezzo-soprano on stage today in her fach, with a lustrous, even and powerful voice throughout the entire range.

There was not one single weak or even half-weak link in the cast. All were as good actors as singers: Franz Hawlata, a fine singer-actor as long as he doesn´t venture too far out on the Wotan-Hans Sachs path, managed the tricky balance of being funny but not overly ridiculous as La Roche. Both Adrian Eröd and Michael Schade were fine as the two combatants, but given the choice, I´d go with the conductor..

First of all, Philippe Jordan looks like a movie star. Secondly (and in that order, mind…) he conducted a superb performance abandoning the light conversational approach so often applied to this piece, for a more pointed, edgy interpretation, completely matched by the happenings on stage. Again, without sentimentality. And the orchestra just played marvellously.

Intermission or no intermission? The Vienna State Opera didn´t seem to be able to decide: Half of the performances with, half without. Starting without. Ending (yesterday) with. Does the potential drinks sale revenue from an intermission not play a part here? Since the house was, of course, packed. But more surprising, there was not one single empty seat to be seen anywhere, and all standing room spaces was full as well…

This was one of the truly rare nights were everything – stage direction, set designs, singing, acting and music – just blended perfectly together to create something that I´ll have to name theater magic failing to find a better expression. The performance seemed to literally take only minutes. And it´s Capriccio. Mind you, I do not even like Capriccio..

If ever a production deserves to be recorded for DVD it is this one. This was the last performance of the run (with no cancellations by any of this stellar cast for the entire run), but it will be revived next season in September-October. A very good excuse to plan a trip to Vienna..

Photographs from www.staatsoper.at

Superb Thomas Hampson in Busoni´s Doktor Faust on DVD

Busoni: Doktor Faust. Zurich Opera House, 2006 (released 2008). Production: Klaus Michael Grüber. Cast: Thomas Hampson (Faust), Gregory Kunde (Mephistopheles), Sandra Trattnigg (Duchess). Conductor: Phillippe Jordan. Details here.

Doktor Faust was unfinished at the time of Busoni´s death in 1924 and the version used in this recording is the one completed by his pupil Jarnach presented at the world premiere in 1925. The work has been slowly gaining recognition and has long been regarded a cult opera, along the lines of Palestrina and Cardillac. Only in the 2000´s was Doktor Faust performed at the Metropolitan Opera and this season it may be seen at the Berlin State Opera.

Busoni worked on Doktor Faust for more than twenty years, and deliberately aimed at distancing himself from Goethe´s version. In Busoni´s version, Faust is a university professor, despairing of live, looking for a higher meaning. Three students present Faust with a magic book. He then conjures up several serving spirits and amongst them chooses Mephistopheles. In exchange for his post-mortem services, Mephistopheles gets rid of Faust´s creditors as well as Gretchen´s (whom he seduced before this opera starts) brother.

All this may be seen as a prelude to the real story of Busoni´s Doktor Faust, which in essence starts when Faust turns up at the wedding of the Duke and Duchess and by conjuring up images from the Old Testament (such as Samson and Dalilah, Salome and Jochanaan) seduces the Duchess and eventually leaves her. A year later he receives notion of her death and Mephistopheles presents him with her (and Fausts) dead child, turns it into straw - sets fire to it - and Helen of Troy appears from the ashes. Faust now acknowledges the meaninglessness of everything he has strived for. But too late. The students reappear and claim the book, while predicting Faust´s death that same evening. At night a beggar appears with a child - Faust recognizes her as the Duchess. Faust accepts the child and his spirit is transferred to the child before he dies.

Klaus Michael Grüber´s staging is both simplistic and aesthetic, underlining the static quality of the work as well as smoothing the transitions between the various scenes. The protagonists often wear extravagant costumes, contrasting with the austere background.

The cornerstones of this performance are Thomas Hampson as well as conductor Philippe Jordan. Many ideas are presented in this work, and Faust´s character is vastly complex, but the complexity seem to be grasped by Thomas Hampson, in one of the finest performances of his entire career. Vocally secure, dramatically convincing. Easily the best performance I have seen (of many) by him.

In a bonus interview Thomas Hampson, who also performed the role at the MET some years ago, furthermore discusses the work in detail calling it a masterpiece in impressively good German.

To my knowledge this is the only DVD version of Doktor Faust.

Promotional video:

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

Thomas Hampson: 5
Gregory Kunde: 4-5
Sandra Trattnigg: 4

Klaus Michael Grübers staging: 4-5

Phillippe Jordan: 4-5

Overall impression: 4-5

Robert Dean Smith debuts as Tannhäuser in Berlin

Tannhäuser, Staatsoper Berlin (Unter den Linden), April 12th 2008

Harry Kupfer (p), Philippe Jordan (c). Cast: Robert Dean Smith (Tannhäuser), Roman Trekel (Wolfram), Anne Schwanewilms (Elisabeth), Michaela Schuster (Venus), Christoph Fischesser (Hermann). Details here.

Robert Dean Smith (last seen in movie theaters as Tristan in the MET HD transmission) made his debut as Tannhäuser in this Berlin State Opera revival of Harry Kupfers 1999 Tannhäuser staging. And, no doubt he is a fine Tannhäuser. And with curly hair he looked vastly better than in the Tristan live transmissions from the MET. His voice is warm, but not large, which is however not a major problem in the relatively small house of the Berlin State Opera. But even here, he seemed occasionally exhausted. He has, however, fine and clear diction, a necessity in a house where Wagner performances are never texted. As the only non-German singer in the main cast, Dean Smith was in fact the singer I could understand the best. A fine performance from him, however I doubt it would be advisable for him to try this role out in a much larger house.

Michaela Schuster is apparently set to take over Waltraud Meier´s repertoire in the major German houses – Kundry in Berlin last year, Venus this year and Ortrud next year in the new Lohengrin production. And while she does inhabit her character on stage and her voice cuts through the orchestra, she seems rather shrill with a unpleasant vibrato particularly in the high register. Anne Schwanewilms is a more mature and independent Elisabeth as usual seen, but while she convinces dramatically, I continue to hear a dryness in her voice which has never really taken to me. In fairness, she received major applause, and my neighbor asked repeatedly to borrow my binoculars several times to look at her…Roman Trekel seemed quite simply to have an off night.

Christoph Fischesser has the dubious honor to be a Wagnerian bass in René Pape´s house, meaning he is largely scheduled to sing René Pape´s roles when the latter is not available. Such as Hermann in this production and (even worse comparison-wise) King Marke in May. Fischesser is actually a quite good singer (as well as being the best-looking of the cast by far) who in fact does not deserve to be endlessly compared to Pape. Though quite young he is authoritative on stage and with a quite flexible voice as well.

Philippe Jordan´s reading of the score seems to be more focused on precision and rhythm (particularly in the string section) as opposed to Barenboim´s more fluid approach usually heard here (as most readers will know this is Daniel Barenboim´s house). But it seemed a well-thought reading and the orchestra sounded fine.

The sets are simple and aesthetic, based around a petrified piano (in the Venusberg scene), a normal piano recital with an audience (the singing contest) and a bare stage (Act 3), everything updated to around present days. The time zone change apart, Kupfer seemed to adhere quite closely to Wagner´s libretto (ie. the characters, which Wagner intended to die, do indeed die here).

Though a good performance, it was not, by any means an exceptional one. In truth, I find it difficult to be overwhelmed by Tannhäuser – I´ve always found the opera to be one of the lesser of Wagner´s works, both dramatically and melodically, despite some magnificent orchestral and chorus passages. Nevertheless the massive applause (including several curtain calls after each act) somewhat surprised me. But much preferred to the obnoxious booing practice (of which there was none today).

Harry Kupfer´s Salome

The late Danish soprano Inga Nielsen as Salome in Kupfer´s staging

Salome. Berlin State Opera, April 28th 2007. Production: Harry Kupfer. Cast: Janice Watson (Salome), Mark Delavan (Jochanaan), Rosemarie Lang (Herodias), Reiner Goldberg (Herodes). Conductor: Philippe Jordan.

Being a huge admirer of Harry Kupfer´s stagings of Richard Wagner´s works, I had high expectations for this Salome, playing for a sold-out Berlin State Opera on the evening before the big Anna & Rolando show.

However Harry Kupfer´s take on Salome was strangely disppointing: The set depicts a prison yard of sorts, encircled by high walls with small windows. The libretto is being meticulously adhered to, with Jochanaan in chains and Salome fluttering around him.
None of the vast depths of Salome are revealed and/or explored in this Harry Kupfer production. Very disappointing. For insightful and revelatory Salome productions, David McVicar or Jürgen Flimm seem to be the ones to turn to.

Mark Delavan is a large man with a large, wooden and uncharacteristic voice. On stage, he is simply stiff and uninteresting. On the other hand Janice Watson is a fine singing-acting Salome, moving vividly on stage and hitting all the notes on pitch.

The Staatskapelle played well for Philippe Jordan. But somehow it doesn´t strike me as a genuine Richard Strauss orchestra, perhaps due to a certain lacking in transparency (or perhaps I am just imagining things...). Undoubtedly a consequence of Daniel Barenboim´s conducting style. Fine with me as long as they continue to play as magnificently as they do at the moment in the Wagnerian repertoire.