Robert Carsen

ROBERT CARSEN

Born 1954 in Toronto, Canada. Education: Old Vic Theatre School (Bristol). Biographical details here: Very detailed (in French), less detailed (in English).

Directorial approach: Simplistic, aesthetic stagings, relatively true to the overall written libretto, though often with a twist.

Major achievements in opera: After his breakthrough in 1986 with La Finta Giardinera in Camden, Carsen has appeared in all major opera houses, especially in Paris (more than 10 productions with highlights including Rusalka and Capriccio) and Glyndebourne (L´incoronazione di Poppea), Metropolitan (Eugene Onegin) and La Scala (Dialogues des Carmelites, Don Giovanni).

ROBERT CARSEN - SELECTED PRODUCTIONS

Candide, Paris Chatelet 2007, the controversial production in which Bush, Putin, Blair, Berlusconi and Chirac dance semi-naked on stage, a must-see as it is really funny:

Falstaff, La Scala 2013:

Don Giovanni, the 2011 Scala season opening:

My Fair Lady at the Mariinsky Theatre 2012:

Rheingold, Liceu Barcelona 2013:

ROBERT CARSEN ON DVD

Mefistofele, San Francisco 1988
Manon Lescaut, Flemish Opera 1991
Les contes d´Hoffmann, Paris Bastille 2002
Rusalka, Paris Bastille 2002
Les Boreades, Paris 2003
Capriccio, Paris Palais Garnier 2004
Dialogues des Carmelites, La Scala 2004
La Traviata, Venice La Fenice, 2004
Rosenkavalier, Salzburg 2004
Il trovatore, Bregenz 2005
Eugene Onegin, Metropolitan Opera 2007
L´Incoronazione di Poppea, Glyndebourne 2008
Tannhäuser, Barcelona 2008
Armide, Paris Chatelet 2008
Katia Kabanova, Madrid Teatro Real 2008
Tosca, Zürich Opera 2008
Semele, Zürich Opera 2009
Rinaldo, Glyndebourne 2011

Don Giovanni, La Scala 2010 (not yet on DVD, but perhaps?)

ROBERT CARSEN - LIVE PERFORMANCES REVIEWED BY MOSTLY OPERA

Lohengrin, Paris Bastille 2007
Ariadne auf Naxos, Copenhagen 2009 (not reviewed, but the production is this one)
Tosca, Zurich 2009
Capriccio, Paris Garnier 2012
La Traviata, Venice La Fenice 2012
Les Contes d´Hoffmann, Paris Bastille 2012

CARSEN - LINKS

Current productions by Robert Carsen
Interview with Robert Carsen on his background, approach etc.

la scala: superb peter mattei, disappointing netrebko in elegant barenboim don giovanni

Don Giovanni, La Scala, December 2011. Production: Robert Carsen. Conductor: Daniel Barenboim. Cast: Peter Mattei (Don G), Bryn Terfel (Leporello), Anna Netrebko (Donna Anna), Barbara Frittoli (Donna Elvira), Kwangchoul Yun (Commendatore), Giuseppe Filianoti (Don Ottavio), Anna Prohaska (Zerlina), Stefan Kocan (Masetto).

The opening is entirely stunning: As the initial two chords of the ouverture fill the auditorium, Peter Mattei runs up the middle aisle and onto the stage where he pulls town the red velvety curtain to reveal a gigantic mirror, reflecting the entire audience: We are (again I am tempted to say), spectators to our own lives.

Robert Carsen clearly loves this sort of theatre-within-theatre concept, which he has previously used in several productions such as Tosca, Contes d´Hoffmann and L´incoronazione di Poppea, just to mention a few. A concept often more exciting on paper than in reality, it does not seem too imposing here where the production, nevertheless, is very elegant, kept mostly in black, gold and dark velvety red colours.

Don Giovanni is a free spirit. Neither malign nor cunning. Just a man, who lives every moment to the fullest. Perhaps this is why he is the last one standing on stage, while the others characters descend into hell in the end. Live life to its fullest! This Don Giovanni certainly has Robert Carsen´s sympathy. And ours as well, not least due to Peter Mattei, who is, in my opinion, quite simply the best Don Giovanni on stage today, with his smooth, direct approach, his beautiful,  beautiful voice as well as his lofty, charming and ultimately very captivating stage manners.

In general, all the singers are from the A-list and probably the best Don Giovanni cast name-per-name one could dream of assembling. Not all live up to expectations, though. However, the two mail protagonists certainly do and Bryn Terfel equals Peter Mattei in what is in one of his best roles. Terfel has always been a much better Leporello than Don Giovanni, Leporello being his own favourite as well. A rather rough, clumsy character, never failing to catch the eye and his bass-barytone contrasts well with Peter Mattei´s barytone.
This time, the ungrateful part of Don Ottavio is left with Giuseppe Filianoti, who does well without exactly distinguishing himself, though Mozart did not help him much by giving him two entirely placid arias to sing as well as some uninteresting recitatives.

Donna Anna is one of the roles that launches the international career of Anna Netrebko. In this production, she clearly loves Don Giovanni but feels obliged to hide her relation with him after the murder of her father. However, she disappoints, mostly vocally, being frequently off tune and sounding murky. I very much doubt we will see much more Mozart from here in the future.

Barbara Frittoli, replacing  Elina Garanca, was a fluttery, nervous Donna Elvira and though she wasn´t exactly a weak link, and definitely better than recently heard at the Metropolitan Opera, the role does not seem to lie well for her.

Up-and-coming Anna Prohaska and Stefan Kocan were sufficiently engaging as Zerlina/Masetto while I would have preferred a much blacker sound for the Commendatore than what Kwangchoul Yun possesses.

Daniel Barenboim´s relationship with Don Giovanni began in 1953 when he assisted the cembalist in a run of Furtwängler-conducted performances. Thus it should comes as no surprise that Barenboim conducts in the style of Furtwängler and Klemperer, lightyears from the period-specific approaches some may prefer today. Not me, though.  About 5 years ago in Berlin, Daniel Barenboim conducted the best Don Giovanni I have ever heard live and again here at La Scala his broad, slow tempi and his unfailing sense of the contrapunctual elements of the score was thrilling. 

Final scene (beginning):

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

Peter Mattei: 5

Bryn Terfel: 5

Anna Netrebko: 3

Barbara Frittoli: 4

Giuseppe Filianoti: 4

Anna Prohaska: 4

Stefan Kocan: 4

Daniel Barenboim: 5

Robert Carsen´s production: 5

Overall impression: 4-5

Karita Mattila in superb Katia Kabanova DVD

DVD. Katia Kabanova  Teatro Real (Madrid) 2008. Prod: Robert Carsen, cond: Jiří Bělohlávek. Cast: Karita Mattila (Katya), Miroslav Dvorský (Boris), Dalia Schaechter (Kabanicha),  Guy De Mey (Tichon), Natascha Petrinsky (Varvara).

What more do you need to make an opera DVD than a stunningly beautiful staging, a divine heroine, great supporting cast and a superb conductor?
You do the following:
1) Hire Karita Mattila to play Katia, one of her best roles which she inhabits as no one else today. Even in her late forties, she convincingly portrays the feeling of this young woman with a sincerity that clearly moves the audience. If, she vocally may be a bit stranged in the upper range, her emotional intensitiy more than outweighs it.

2) Hire Robert Carsen, known for esthetic as well as minimalistic production. Here, the major part is played by the river Volga as the production is bathed in the most beautiful blue light, everything taking place on or in the water

3) Hire someone like Jiří Bělohlávek, who makes the score flow

4) Hire adequate supporting cast. No disrespect meant, but in Katia Kabanova, it is really Katia, who counts. Worth mentioning that Dalia Schaechter is a less ominous Kabanicha than most, but vocally fresh, not unimportant in what is often a post-retirement role for great dramatic sopranos of  the past.

The only DVD alternative, Christoph Marthaler´s Salzburg production is also superb and recommendable with an entirely different socio-realistic, but effective take on the opera. And while Angela Denoke is outstanding as Katia, she still has one level to go to to reach Karita Mattila.

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

Karita Mattila: 5

Robert Carsen: 5

Belohlavek: 5

Everyone else: 4-5

Overall impression: 5

Zurich Tosca: Magee, Kaufmann and Hampson in (too) stylish Carsen production

Tosca. Zurich Opera, April 9th 2009. Production: Robert Carsen. Cast: Emily Magee (Tosca), Jonas Kaufmann (Cavaradossi), Thomas Hampson (Scarpia). Conductor: Carlo Rizzi. Further information here.

All the ingredients were there: As starry cast, a stylish director as well as a beautiful (and sold-out) auditorium. Nevertheless, the evening never really took off.

Canadian director Robert Carsen apparently was inspired by Cavaradossi´s remark to Tosca “like Tosca in the theatre” after she instructs him on how to play dead. Thus, his Tosca is a theater-in-the-theater production, a concept Robert Carsen has tried earlier with his Hoffmann´s Tales in Paris, and generally a more intellectually rewarding than emotionally thrilling staging concept. Furthermore, this apparently is not a new production, as it appears it has been seen earlier in Barcelona, though information in this regard is not exactly forthcoming from the Zurich Opera website or magazine (read: it seems to be non-existent).

Combined with the creation of stylized Hitchkock-Hollywood images, the result is a production, which emphasizes form over substance, unfortunately draining it of drama. The overly stylized movements by Tosca, artificially coordinated with the music beneath a moving spotlight during the confrontation with Scarpia virtually draws the tension out of this, the perhaps central scene of the entire opera, briefly reminiscnet of the extreme aesthetism of Robert Wilson.

In brief, we are in a theater. As Act 1 opens we look at an operatic theater from the back of the stalls – plenty of chairs, Cavaradossi decorating the auditorium, while the curtain (of the theater-within-the-theater) finally goes up under the Te Deum to display Tosca in full stage regalia. For Act 2 we move backstage to a smoking Scarpia beneath a large VIETATO FUMARE sign, staring at a large painting of Tosca. All in a very aesthetic mix of period costumes on a virtually bare (back)-stage.

Tosca is a stylized 1950´s hollywood diva. A superficial diva, who enjoys both the spotlight (literally) and the attention from Cavaradossi as well as Scarpia while distractedly looking at the programme notes of this evenings Tosca performance..Theatre within theatre indeed.

While Cavaradossi, the only genuine character in this set-up, is the real victim: Presumably intended to be younger than Tosca (he is in real life as well), he is the only one displaying genuine emotions in his unconditionally love for Tosca and sings about his loneliness to a pitch-black auditorium from the naked stage in Act 3, into which Tosca finally jumps with her audience now vanished. It is both aesthetic and stylish. However, compelling music theater it is unfortunately not.

Despite the presence of the undisputed leading Cavaradossi of the day in Jonas Kaufmann. What does he not have? Nothing it seems. In looks and acting, he is the perfect romantic hero. He even has that barytonal glow to his voice, which does make him push for the top (as Plácido Domingo always has), but has the benefits of gaining more punch to his interpretation.
Thomas Hampson´s lyric baritone does not, on paper, seem ideal for Scarpia, though he projects the dramatic lines of the part surprisingly well. As a villain, however, he does not convince, though I am not sure Scarpia is really intended as such in this production, rather as a man, fighting with another man over a woman.
The vastly underrated Emily Magee made her role debut as Tosca, and sings the part better than anyone I can imagine today, Karita Mattila apart. The lack of emotional connection with her character may probably mainly be attributed to Carsen´s approach of the work, and it would be interesting to see her in another production. At the Met, perhaps, where her debut has been more than overdue for about a decade?
Effective, though not overly detailed, playing from the orchestra under Carlo Rizzi.

An evening, where, unfortunately the sum was somewhat less than the individual parts put together.


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

Jonas Kaufmann: 5
Thomas Hampson: 4
Emily Magee: 4-5

Robert Carsen´s staging: 4

Carlo Rizzi: 3-4

Overall impression: 4

DVD: Contes d´Hoffmann from Paris

Les Contes d´Hoffmann. Paris Bastille 2002. Director: Robert Carsen. Cast: Neil Shicoff (Hoffmann), Bryn Terfel (Villains), Susanne Mentzer (Muse), Desirée Rancatore (Olympia), Ruth Ann Swenson (Antonia), Béatrice Uria-Monzon (Giulietta). Conductor: Jesus Lopez-Cobos. Further information here.

Once again, Robert Carsen has turned out a gleamingly beautiful and stylish production for the Bastille Opera. This time he places Contes d´Hoffmann in a theater during and after a performance of Don Giovanni, where Stella sings Donna Anna. In the prologue we are in the bar, Antonia sits in the artificial orchestra pit while her mother sings from the state., Giulietta is in the audience... Theatre within the theatre at it´s best.

Neil Schicoff is a superb Hoffmann, one of his best parts. The characterization is much more multifacetted than usual, he is not the naive lover, but rather the estranged tired-looking artist, very well suited to his appearance as well as vocal strenghts. Susanne Mentzner is both fine and sensitive as The Muse.

Desirée Rancatore looks and acts like the Doll Olympia, but does not have the voice for the part. Ruth Ann Swenson does have the voice for her Antonia, but doesn´t really look and act the part. Béatrice Uria-Monzon theoretically has both the looks and voice for Giulietta, the hatch being I find her voice rather rough.

Despite my finding Bryn Terfel´s Villains rather odd as opposed to menacing or dangerous (where is the undercurrent menace of Scintille Diamant?), the Villains are his best parts within in this range of repertoire, of which my reservations on Terfel is too well known to regular readers to be repeated. However, in all fairness: Admirers of Bryn Terfel in parts such as Scarpia and Méphistopheles will admire his Villains unconditionally.

In my humble opinion, there is only one problem with Les Contes D´Hoffmann: The opera is quite simply too long, no matter what version (of the myriad available) is on the table. The problem: The first and last acts are relatively tedious and Offenbach´s inspiration seems to have faltered in long stretches. On the contrary, the stories of the three women (Olympia, Antonia and Giulietta) are superb, most of all the Giulietta act, which also features the Scintille Diamant.

Is this the DVD of Hoffmann to own? Probably yes, at least as long as David McVicar´s 2003 Salzburg production has not been released on DVD.

Neil Schicoff "Kleinzach Aria":

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

Neil Shicoff: 5
Bryn Terfel: 4
Desirée Rancatore: 2
Ruth Ann Swenson: 3
Béatrice Uria-Monzon: 3
Susanne Mentzner: 4

Robert Carsen´s production: 5

Jesus Lopez-Cobos: 4-5

Overall impression: 4

DVD: Bregenz Il trovatore

Il Trovatore. Bregenz Festival 2005. Director: Robert Carsen. Cast: Iano Tamar (Leonora), Carl Tanner (Manrico), Zeljko Lucic (Luna), Marianne Cornetti (Azucena). Conductor: Thomas Rösner with the Wiener Symphoniker. Further information here.

This spectacular production of Il Trovatore is set on the famous floating stage of the Bregenz Festival. The huge multistory set is in fact an island occupied by a huge petrochemical plant continuously spouting fire.

"The inner world of Il trovatore is not logical, not rational", director Robert Carsen says defending the libretto of Il Trovatore, which he finds vastly underrated. "There are more than one hundred references to fire in Cammarano´s libretto for Il trovatore" he says and continues to elaborate on the role of fire in gypsy culture.

The characters inhabit various parts of this petrochemical plant with towers like a medieval Spanish castle, a metaphor of society. In fact, this approach works rather well. Gypsies appear from underneath the plant, living on the fringes of a machinegun-guarded society. Manrico arrives by speed-boat. Leonore arrives in a fancy limousine and party dress. The singers traverse the petrochemical plant, climbing precarious metal ladders. There is plenty to look at and the action never seems to stop.

Unfortunately, the musical aspects of the performance is rather far from first-rate. None of the singers are really top-drawer: Zeljko Lucic is competent, but rather boring. Carl Tanner borders on the disastrous. Iano Tamar does look the part but is rather bleak. Marianne Cornetti is competent, but ultimately too anonymous. Same goes for Thomas Rösner in the "pit".

However, the Bregenz floating stage is unique and Robert Carsen has successfully adapted this spectacular production to the conditions provided here.

Promotional video:

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

Iano Tamar: 3
Carl Tanner: 2
Zeljko Lucic: 3
Marianne Cornetti: 3

Robert Carsen´s staging: 5

Thomas Rösner: 3

Overall impression: 4

Superb La Traviata productions on DVD: Robert Carsen from La Fenice with Ciofi, Saccá and Hvorostovsky

La Traviata. Teatro La Fenice, Venice 2004. Production: Robert Carsen. Cast: Patrizia Ciofi (Violetta), Roberto Saccá (Alfredo), Dmitri Hvorostovsky (Germont pére). Conductor: Lorin Maazel. Further information here.

This Robert Carsen production of La Traviata was chosen for the reopening of Teatro La Fenice in 2004, the place of the Traviata world-premiere in 1853.

Robert Carsen´s concept is strong: This Traviata is about prostitution as a phenomenon, not about Violetta as a person. His view is a cynical one, in which all the men only are interested in Violetta´s past, present or future potential for providing sexual satisfaction.

The action is transferred to the 1970´s. Violetta is a celebrity prostitute. During the prelude she is payed for her services. Alfredo is a paparazzi photographing her right from the beginning at the sleazy party where they meet. He keeps photographing her amidst a floor covered with money-resembling-leaves in Act 2. Money is continuously thrown around. Also Germont pére is willing to pay for Violetta´services. Sex and money is not subtly hinted at but blatantly put out.
Flora´s party takes place in a nightclub with ditto dancers. In the end Violetta sits in an empty warehouse flipping through her photos - her empty life as a celebrity prostitute is over.

I find the concept extraordinarily inventive and well-executed, but as most will have guessed by now: This is not a traditional La Traviata. For a traditional production, look here.

Patrizia Ciofi is a compelling Violetta, primarily through her vocal as well as physical acting. Her voice is not particularly beautiful and furthermore she tends to be sharp, but she delivers a very convincing portrait of Violetta´s transformation from self-absorbed prostitute to dying woman.

Dmitri Hvorostovsky seems more engaged than usual and while he physically is completely believable as the photographer, vocally Roberto Saccá is the weak link of the production.

Lorin Maazel, who apparently did not like the production, nevertheless conducted an excellent performance.

Finally: Why do all TDK releases have such boring covers? One almost does not believe that the content may be interesting.

Patrizia Ciofi with Amami Alfredo:

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

Patrizia Ciofi: 4
Roberto Saccá: 3
Dmitri Hvorostovsky: 3

Lorin Maazel: 4

Robert Carsen´s production: 5

Overall impression: 5

Robert Carsen´s superb 2004 Salzburg Rosenkavalier on DVD

Rosenkavalier. Salzburg Festival 2004. Production: Robert Carsen. Cast: Adrianne Pieczonka (Marschallin), Angelika Kirchschlager (Octavian), Miah Persson (Sophie), Franz Hawlata (Ochs). Conductor: Semyon Bychkov with the Vienna Philharmonics. More details here.

Given the choice between nostalgia or decadence, the traditional Rosenkavalier productions on DVD (see below) chose nostalgia. Robert Carsen chose to depict a decadent society in decay in his 2004 Salzburg Festival production.

First act takes place in the decadently luxurious chamber of the Marschallin and the enourmous stage of the Grosses Festpielhaus is utilized to the maximum as several things take place simultaneously in parallel chambers.

We are in Vienna immediately preceding the outbreak of World War One. Octavian seems only one in a (long) string of lovers of the Marschallin. Ochs is a military man arriving with his regiment of soldiers.
Act two takes place in a large dining room with a dinner table almost spanning the 100 meter width of the stage complete with war paintings on the back wall. Sophie is wiser, not quite the naïve innocent girl reciving Octavian, when he arrives on a live horse to present the silver rose. Ultimately Ochs walks almost straight into Octavian´s sword while his regiment of soldiers harass the household of Sophie´s father in a very entertaining scene.

The third act takes place in a brothel covered in red lights, complete with full frontal nudity and transvestites, definitely more funny than sexy. Octavian is clearly enjoying himself with the girls and make out with Sophie on the bed with the Marschallin walking by. This relationship won´t last. And in the end, we just see the assassination of Archduke Ferdinand setting into motion the chain of events leading to the First World War.

The production was equally loved and hated by audiences in 2004. Clearly my favorite Rosenkavalier production on DVD, not the least due to the simply outstanding cast.

Adrianne Pieczonka´s noble Marschallin shows why Strauss is her true fach and in my opnion she is the best Marschallin on DVD (as well as the best alive) - the nostalgia, the resignation - she seems to capture every facet of this part with her varied acting combined with her superb Straussian voice.
I have simply not heard a finer Octavian since Christa Ludwig than Angelika Kirchschlager - her even, rounded and simply beautiful voice combined with a rather masculine edge to her acting makes her unsurpassed as Octavian.
And Miah Persson´s beautiful Sophie completes this first-rate trio with her clear soprano and entirely convincing acting. Franz Hawlata is more noble than the traditionally ridiculous Ochs, and while he may not excel with his low notes, he more than fulfills Robert Carsen´s demands.

Do the Vienna Philharmonics really need a conductor to play this score, which they´ve probably played more than any other orchestra? Needless to say they played sumptuously capturing the exact right rhythms in the walzes for Semyon Bychkov.

Strongly recommended. However, those preferring a traditional Rosenkavalier may want to look at one of the two 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.

Adrianne Pieczonka and Angelika Kirchschlager in Act 1:

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

Adrianne Pieczonka: 5
Angelika Kirchschlager: 5
Miah Persson: 5
Franz Hawlata: 4-5

Semyon Bychov:4-5

Robert Carsen´s production: 5

Overall impression: 5

Celebrated Ariadne with Pieczonka and Damrau in Munich

Adrianne Pieczonka (above) and Diana Damrau (below) in Robert Carsen´s new Ariadne in Munich

This years Munich Opera Festival featured the premiere of Robert Carsen´s new production of Ariadne Auf Naxos last week, a spectacular success judged by responses by audiences and critics alike.

The cast featured Adrianne Pieczonka as Ariadne and Diana Damrau as Zerbinetta. Kent Nagano conducted. Burkhard Fritz was Bacchus, Daniela Sindram the Composer.

Both lead ladies, Pieczonka and Damrau received stunning reviews. Also much praise for Carsen´s stylish production and for Kent Nagano, who to many´s suprise turned out a fine Straussian.

This production will play at the Deutsche Oper Berlin next February featuring Michaela Kaune/Violeta Urmana as Ariadne and Jane Archibald as Zerbinetta.
Reports in English from Financial Times, Boulezian and in German from Die Welt, Merkur, Abendzeitung (rather critical) and Kurier among others.

A promotional video with highlights from the production here:

Samuel Ramey´s Mefistofele on DVD

Mefistofele (Boito). San Francisco Opera 1989. Production: Robert Carsen. Cast: Samuel Ramey (Mefistofele), Dennis O´Neill (Faust), Gabriela Benackova (Margherita/Elena). Conductor: Maurizio Arena. Further information here.

Samuel Ramey must be one of these admirable artists not caring about their legacy. Because if he did care about his legacy, he would retire from the stage and thus avoid being remembered for the vocally disgraceful performances of recent years, which unfortunately do tend to overshadow the memories of his previous glory. Operagoers, who tend to live in the past have an obvious advantage here....

Arrigo Boito is mainly known as Verdi´s Otello and Falstaff librettist and this 1868 Mefistofele is his only opera and one of several based on the medieval Faust legend.

Boito follows Wagner´s example of writing his own libretto, for which he leans heavily on Goethe: God challenges the Devil (Mefistofele) for Faust´s soul, which Faust subsequently sells to the Devil in exchange for a moment of complete happiness. Margherite falls in love with him and eventually kills both her mother and baby, but ultimately rejects Faust, which saves her soul. Mefistofele then conjures up the image of the eternally beautiful Helen of Troy. Faust declares himself completely happy with her, forfeits his soul to the Devil, but in a move I´ve never entirely understood God intervenes and saves his soul.
I almost feel sorry for the poor Devil. Didn´t he win Faust´s soul fare and square? I mean, nobody exactly forced Faust to sell his soul. Though God did start the whole affair by challenging Mefistofele in the first place. As they say: The Lord does indeed work in mysterious ways...

Some of Boito´s music may not be exactly first rate, but the beauty of the choral scenes at the beginning and end is immense.

As said, I had almost forgotten how glorious Samuel Ramey really was in his prime, as in this 1989 Mefistofele. This is really how he should be remembered. Samuel Ramey is simply a magnificent Devil. Glorious voice. Superb presence. Sarcastic, sophisticated, witty. And quite likable as well. Generally, I rather like these Devils (Gounod´s and Berlioz´ as well) as they tend to be vastly more interesting and attract vastly more interesting singers than the often tedious Faust characters.

Is Faust just a boring character or is it Dennis O´Neill who is boring? Both I suppose. Gabriela Benackova does not exactly set fire to the stage either despite a very beautiful voice.

Robert Carsen had his international breakthrough with this production in 1988 and had not quite developed his secure grasp of evocative minimalism combined with innovative staging concepts. Some of the scenes, most notably the opening and final scenes, with masked ghosts appearing on balconies were superb. As was Mefistofele appearing from the orchestra pit for his opening monologue. Other scenes seemed rather static and overstuffed.

This is currently the only Mefistofele on DVD.

Samuel Ramey with the Mefistofele opening monologue:

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

Samuel Ramey: 5
Gabriela Benackova: 3
Dennis O´Neill: 2

Robert Carsen´s staging: 3
Maurizio Arena: 3

Overall impression: 4

Renée Fleming Rusalka DVD

Rusalka. Paris Bastille Opera 2002. Production: Robert Carsen. Cast: Renée Fleming (Rusalka), Larisa Diadkova (Jezibaba), Eva Urbanova (The foreign princess), Franz Hawlata (Water Spirit), Sergei Larin (The Prince). Conductor: James Conlon. Further information here.

For a DVD recommendation of Rusalka, this is an easy choice being the only version available in the original czech language.

The storyline in brief: Rusalka, a water nymph, falls in love with a mortal Prince. To marry him she has to give up speech, and furthermore she will have to return to the un-dead, should her Prince reject her. Which he does, attracted by a Foreign Princess. The Prince then regrets this unlucky choice and returns to Rusalka, now an un-dead water nymph, eventually choosing to die in exchange for a kiss. Except that in Robert Carsen´s staging the ending is a happy one, in which the the Prince and Rusalka are united.

Robert Carsen´s very beautiful (as always) production emphasizes the duality of the mortal and fairy-tale worlds. In Act I, the stage is vertically symmetrical, reflected from the bottom of the enchanted lake. In Act II, the symmetry of the set is left-right within the palace of the Prince, applying body doubles as well.
Though the main concept thus is relatively clear, explanatory notes by Robert Carsen nevertheless would have been much appreciated. But potential buyers may note, this is not a traditional setting. Nor is it wildly experimental, though.

The almost Wagnerian power of Dvorak's score is convincingly conveyed by James Conlon.

Futhermore, the cast is virtually ideal, both vocally and dramatically, with no weak links: Sergei Larin has the necessary heft as the Prince, though he comes off rather stiff on stage. Eva Urbanova is almost frightening as the dominating Foreign Princess, Larisa Diadkova is a demonic Jezibaba, Franz Hawlata a noble Water spirit.

And finally Renée Fleming as Rusalka, one of her best roles. She is in splendid voice and whether or not one cares for her particular style of singing (more mannered than in her earlier years, but less mannered than she can be), her portrait of Rusalka is genuinely moving and of an artistic depth that stays with the viewer for quite a while.

Strongly recommended.

The only alternative to this DVD is David Pountney and Mark Elders English language version from the English National Opera 1986, which I cannot recommend.

Renée Fleming: Song to the moon

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

Renée Fleming: 5
Larisa Diadkova: 5
Eva Urbanova: 4-5
Sergei Larin: 4
Franz Hawlata: 4

James Conlon: 4
Robert Carsen´s production: 5

Overall impression: 5

Superb Robert Carsen production of Dialogue des Carmelites on DVD

Poulenc: Dialogues des Carmelites. La Scala 2004. Production: Robert Carsen. Cast: Dagmar Schellenberger (Blanche), Laura Aikin (Constance), Barbara Dever (Mére Marie), Anja Silja (Mme de Croissy). Conductor: Riccardo Muti. More information here.

This 2004 La Scala production of the Dialogues des Carmelites is simply close to ideal. And the aesthetically beautiful and simplistic Robert Carsen production was deservedly elected opera DVD of the year by the BBC music magazine last year.

Poulenc´s music is simple and beautiful as well as tonal and easily accessible, though not without disturbing undertones, effectively underlined by the Scala Orchestra superbly conducted by Riccardo Muti.

The opera takes place during the French revolution, and is the story of the young aristocratic woman Blanche, struggling with a fear of death, who joins the Carmelite Order. Through her meeting with the old prioress and the other nuns, Blanche overcomes her fear of death to a degree that she volunteers to follow her fellow sisters to the guillotine when they are apprehended by the ”revolutionary” forces at the end.

The stage is empty, all wear 18th century dress, and Robert Carsen emphasizes the human drama with contrasts in light and colouring as the only stage effects.

All the (predominately female) cast are excellent, in particular Dagmar Schellenberger as Blanche, who delivers a compelling portrait dramatically as well as vocally, as well as Anja Silja (the old prioress) who dominates her scenes by strong presence. The scene between Blanche and the old prioress as well as the death of the old prioress are the absolute highlights of this production. Also strong performances from Laura Aikin and Barbara Dever in a cast without weak links.

Anja Silja is shattering in Mme de Croissy´s death scene:

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

Dagmar Schellenberger: 5
Laura Aikin: 5
Anja Silja: 5

Robert Carsen´s staging: 5

Riccardo Muti: 5

Overall impression: 5

MET Eugene Onegin on DVD: Unforgettable

Eugene Onegin. Metropolitan Opera 2007. Production: Robert Carsen. Cast: Dmitri Hvorostovsky (Onegin), Renée Fleming (Tatiana), Ramon Vargas (Lenski). Conductor: Valery Gergiev. Further information here.

This is without doubt the most exciting performance I have seen from the Metropolitan Opera, in addition to being one of the best operatic DVDs ever to have been issued.

Robert Carsen´s simplistic sets provide the ideal background for a production with the focus on Dmitri Hvorostovsky´s marvellous Eugene Onegin. He is simply the Eugene Onegin of the century: Ideal in both physical appearance and voice: The haughty manners, perfectly smooth legato lines combined with superb acting, way above his usual standard, perhaps influenced by Renée Fleming´s moving Tatiana. They have superb chemistry on stage and the final scene is simply unforgettable. Also a fine though slightly dry performance from Ramón Vargas as Lenski.
Where I would have expected Valery Gergiev to sparkle in the pit, I rather found him slightly hollow, in what approached an off-night by his own standards.

They bring this story alive in one of the most searing operatic performances I have ever witnessed. Helped by Pusjkin´s great and eternally relevant story of love and rejection.

My only complaint is that this is spread out on 2 discs, while it could very well have fitted into one.

Initially I though, this would be the undisputed best DVD version of Eugene Onegin for years to come. However, merely a couple of months later, the dark, brooding 2007 Salzburg production conducted by Daniel Barenboim emerged, meaning that two of the best operatic DVDs on the entire operatic DVD market are 2007 productions of Eugene Onegin. And yes, Barenboim does beat out Gergiev in musical depth. And Peter Mattei is the equal of Dmitri Hvorostovsky. Both versions are essential viewing.

Renée Fleming and Dmitri Hvorostovsky in the final scene:

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

Dmitri Hvorostovsky: 5
Renée Fleming: 5
Ramon Vargas: 4

Robert Carsen´s staging: 5

Valery Gergiev: 4

Overall impression: 5

Capriccio: All shine in elegant Paris production

Capriccio. Paris Palais Garnier 2004. Production: Robert Carsen. Cast: Renée Fleming (Countess), Dietrich Henschel (Count), Anne Sofie von Otter (Clairon), Rainer Trost (Flamand), Gerald Finley (Olivier), Franz Hawlata (La Roche). Conductor: Ulf Schirmer. Further information here.

Whether one actually likes Capriccio or not, I find it hard to argue against this close to ideal production by Robert Carsen set in the elegant Palais Garnier in Paris 2004.

A theater within the theater production transferring the action to the time of the composing of the opera (1941), though the Nazi presence is very small in this very elegant look into upper-class Parisian lives at the time. Perfectly suited for DVD, the action is played out at parts before an empty auditorium with the Countess and her brother as spectators from the balcony. At other points it seems a genuine live performance.

Everything in this production just oozes elegance: Carsens staging is accompanied by the equally elegant and sophisticated conducting from Ulf Schirmer.

And the singers are simply first-rate over the entire line: First of all, obviously, Renée Fleming as an entirely convincing Countess. Whatever one may feel about Renée Flemings vocal technique, including her heavy use of portamento, her Countess is both vocally and dramatically entirely convincing and is on par with the greatest in the discography.

Virtually all the others stand out as well, beginning with Anne-Sofie von Otter as a slightly mad Clairon, Franz Hawlata as a not overly ridiculous La Roche, Gerald Finley as a half-desperate Olivier, Rainer Trost as Flamand and Dietrich Henschel as a rather confused Count.

One of the finest DVDs on the market, though traditionalists may prefer the only alternative on DVD, from the San Francisco opera with Kiri Te Kanawa and conducted by Donald Runnicles, in a completely traditional staging (read: including plenty of dust). While this musically is not a bad choice, I find Renée Fleming clearly superior to Te Kanawa as well as von Otter to Troyanos.

Renée Fleming in the Final Scene:

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

Renée Fleming: 5
Anne Sofie von Otter: 5
Dietrich Henschel: 5
Gerald Finley: 5
Rainer Trost: 5
Franz Hawlata: 5

Robert Carsen´s staging: 5

Ulf Schirmer: 5

Overall impression: 5

Paris: Waltraud Meier´s mesmerizing Ortrud

Lohengrin. Paris Bastille Opera. June 8th 2007. Production: Robert Carsen. Cast: Ben Heppner (Lohengrin), Mireille Delunsch (Elsa), Waltraud Meier (Otrud), Jean-Philippe Lafont (Telramund), Jan-Hendrik Rootering (King Heinrich). Conductor: Michael Gürtler.

Robert Carsen´s mid-90´s Lohengrin production for the Bastille Opera takes place in an unspecific war/post-war setting. Everything about this staging speaks war and desolation. Ít is dark and grey, entirely without warmth or comfort. The people of Brabant appear in ragged clothes. The King wears the uniform of a General.

To this land of war without hope, Lohengrin suddenly arrives - on a swan. He clearly comes directly from Paradise as illustrated by the lush green background scenery from where he appears - and ultimately disappears. Upon his departure, he brings back a leaf from one of these paradisic trees and plants among these warriors as a sign of hope - evil is conquered at last.

The center of the action was Waltraud Meier´s mesmerizing Ortrud. Her radiance is magnetic and even though she doesn´t even sing a note in act 1, she still manages to be the center of attention. Her razor-sharp voice effortlessly filled the auditorium (on pitch as well) in a shattering portrayal of Ortrud, which I do not expect to be surpassed in my life-time.

Compared to this almost unnatural tour de force Mireille Delunsch actually was a rather fine Elsa. She has a very floating and expressive way of singing, which suited Elsa well.

Ben Heppner was Lohengrin, and though he may have a beautiful voice, he is distinctively unexpressive. On top of this one may add his mediocre dramatical skills - basically he seems to have 2-3 facial expressions, to be used at random.

Jean-Philippe Lafont was a rather weak Telramund and also Jan-Hendrik Rootering seems to have his future behind him. Evgeni Nikitin as the Heerrufer, on the other hand, was excellent. As was the orchestra, conducted by Michael Güttler in his only performance of the otherwise Valery Gergiev-conducted run.

The evening, however, belonged to Waltraud Meier.