jonas kaufmann shines in film noir version of tosca

Tosca. DVD. Zurich Opera House 2009. Production: Robert Carsen. Conductor: Paolo Carignani. Cast: Emily Magee (Tosca), Jonas Kaufmann (Cavaradossi), Thomas Hampson (Scarpia).

Looking back at what I wrote when I saw this production in Zurich in 2008 during the same run which was filmed for this DVD, I see that my impressions of the DVD remain largely the same as my impressions of the live performance:

Another production-within-a-production, which Robert Carsen likes so much, as evidenced by his previous stagings of works such as L´incoronazione di Poppea, Don Giovanni and Contes d´Hoffmann. While this type of staging may not seem entirely inappropriate for a diva-esque play like Tosca, it nevertheless defuses some of the tension inherent in both music and libretto.

We begin in the empty audience in front of an empty stage: That is, we look at an empty auditorium in front of an empty stage, the real audience being, obviously, seated in the audience...
Cavaradossi paints on the wall of the theatre (Act 1), is tortured in a chamber adjacent to the stage (Act 2) and finally dies on the centre stage (Act 3). Carsen succeeds in creating a film noir atmosphere, which admittedly is a little bit too artificial for my tastes: Just take the freezing cuts in the middle of the otherwise very intense Tosca-Scarpia scene, placing Tosca directly under the spotlight, while completely defusing the tension between her and Scarpia. Clearly a matter of style outranking matt

Some may want to buy this DVD on the strengths of Jonas Kaufmann alone, completely understandable as he is the best Cavaradossi I have seen, on stage or on DVD. However, unless you want to own two DVDs with Kaufmann as Cavaradossi, the one from London with Angela Gheorghiu and Bryn Terfel is the better choice.

However, the cast is as fine here in Zürich as anywhere, and while Emily Magee is a bit mature as Tosca she has the appropriate diva-like manners and the role lies well for her.

I like Thomas Hampson´s elegant Scarpia, though he occasionally seems to lack a bit of bite. But rather refreshing seeing a production which avoids turning Scarpia into a monster.  

Carignani is on top of things in the pit and there is plenty to admire in this stylish production, though, at least for me, it is not the first choice.

Production trailer:

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

Jonas Kaufmann: 5

Emily Magee: 4
Thomas Hampson: 4

Robert Carsen´s staging: 4

Paolo Carignani: 4

Overall impression: 4

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

Salzburg 2006: A Mozart Gala

A Mozart gala. Salzburg Festival 2006. Soloists: René Pape, Michael Schade, Ekaterina Siurina, Thomas Hampson, Magdelena Kozena, Anna Netrebko, Patricia Petibon. Conductor: Daniel Harding with the Vienna Philharmonics. Further information and detailed programme here.

I suppose this is a case of: If you like this sort of thing, you will most definitely like this DVD..
And by this sort of thing I mean a glitzy gala concert with a bunch of star singers each performing one aria, including some orchestral padding.

The overall quality is impeccably high, however I have to admit, that no matter how perfectly brilliant the individual performances, I find these things tedious to watch.
That said, several of the performances were indeed perfectly brilliant (René Pape with the Catalogue Aria, Magdalena Kozená with "Parto, ma tu ben mio", Ekaterina Siurina with "Se il padre perdei") and none were less than fine. Anna Netrebko finished the singer´s part of the show with an engaging delivery of "D´Oreste, D´Ajace".

All engagingly accompanied by Daniel Harding, who finished the evening with a straight-on delivery of Mozart´s Prague Symphony (personally I would have preferred some more singing, however).

The occasion, of course, was the 250th anniversary of Mozart´s birth, which was celebrated at the Salzburg Festival in 2006 with DVD releases of his entire operatic output. As well as this gala concert from the Felsenreitschule.

Ekaterina Siurina "Il padre perdei" (Idomeneo):

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

If I liked this sort of thing: 5

Video by tenore23 on YouTube

DVD: Salzburg 2006 Don Giovanni

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

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

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

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

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

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

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

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

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

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

Martin Kusej´s production: 4
Daniel Harding: 3

Overall impression: 4

DVD: Thomas Hampson as Macbeth in Zurich

Macbeth. Zurich Opera 2002. Director: David Pountney. Cast: Paoletta Marroccu (Lady Macbeth), Thomas Hampson (Macbeth), Roberto Scandiuzzi (Banquo), Luis Lima (Macduff). Conductor: Franz Welser-Möst. Further information here.

That an opera production is weird is no problem as such. However, David Pountney is simply not at his best with this Zuric Macbeth staging. He has created several superb stagings of lately, such as Peter Grimes and Turandot, however for some reason, this Macbeth misses the boat. And rather surprisingly it is not even stylish, normally a trademark of Pountney´s.

That Banquo´s blood is green is simply odd. However, there could be a perfectly reasonable explanation for that, and it does fluorescate rather intriguingly when smeared all over Macbeth and the lady...But in an unaesthetic way oddly corresponding with the rest of the sets.
Furthermore, I do not get any insights into the characters motivations or relationships. I do not doubt that David Pountney has the ideas. He just doesn´t convey them to the audience.

Thomas Hampson is a highly intellectual singer, always performing immense amounts of background searches for his characters apart from speaking some of the best German I´ve ever heard from a native English-speaker. Furthermore he looks rather good - in the documentary, that is. As Macbeth he both looks and appears irritating and pathetic. Perhaps because his character, Macbeth unfortunately is irritating and pathetic- almost bordering on a self-parody. And because they made him wear a wig, which simply does not suit him. Vocally, this is not his turf either - there has to be more ring to the part to make it work.

Roberto Scandiuzzi may have been a good singer once. Paola Marroccu could have been a great Lady Macbeth now, had she not been consistently flat and had her voice not had a distinctly grainy quality not really to my liking. However, she is not at all uninteresting and creates genuine drama on stage. The audience seemed to adore her.

Franz Welser-Möst = As reliable as ever.

Recommended? Not really.

Banquo-Macbeth duet:

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

Thomas Hampson: 3-4
Paoletta Marroccu: 3
Roberto Scandiuzzi: 2
Luis Lima:2

David Pountney: 2

Franz Welser-Möst: 4

Overall impression: 2

Karita Mattila´s Arabella (Paris and London)

Arabella. Paris Châtelet 2002. Production: Peter Mussbach. Cast includes Karita Mattila (Arabella), Thomas Hampson (Mandryka), Barbara Bonney (Zdenka). Conductor: Christoph von Dohnanyu with the Philharmonia orchestra.

Another comment on a performance of the recent past, televised, but not released on DVD (hopefully yet).

A co-production with London Covent Garden where it played in 2004 with the same main cast. The Paris performances consititued the role debut for both Karita Mattila and Thomas Hampson as Arabella and Mandryka, respectively.

Karita Mattila quite simply is a wonderful Arabella. The characterization of Arabella with Mattilas´s touch of awkward shyness and naivity is utterly convincing. As is her simply flourishing beautiful voice.

Also Madryka is an almost ideal part for Thomas Hampson.

Peter Mussbach´s production is admittedly rather strange. It all takes place in one set, depicting a ultra-modern hotel lobby, with a golden very narrow spiral staircase and unmoving escalators connecting the various levels of the sets. However, while the hotel configuration doesn´t disturb much, it doesn´t add much, either..

Now we have only the Renée Fleming DVD among the modern interpretations of Arabella. I´d say a release of this production and/or the Vienna production with Adrianne Pieczonka would be most welcome.

Karita Mattila, Barbara Bonney "Aber der richtige":

Karita Mattila and Thomas Hampson "Er will mich heiraten.."

Karita Matila and Thomas Hampson - "Das war sehr gut Mandryka":

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

Karita Mattila: 5
Thomas Hampson: 5
Barbara Bonney:4
Hugh Smith: 4

Peter Mussbach: 4

Christoph von Dohnanyi: 4

Overall impression: 4-5

Videos originally posted by operalou

Superb La Traviata productions on DVD: Willy Decker´s 2005 Salzburg production with Anna Netrebko and Rolando Villazon

La Traviata. Salzburg Festival 2005. Director: Willy Decker. Cast: Anna Netrebko (Violetta), Rolando Villazón (Alfredo), Thomas Hampson (Germont pére). Conductor: Carlo Rizzi with the Vienna Philharmonics. Further details here.

Willy Decker ´s 2005 Salzburg Traviata is both simple and aesthetic: The oval stage is surrounded by a semicircular wall, the only decorations being the occasional pink couch and a chair. The few remaining hours of Violetta´s life are symbolized by a giant clock, counting down mercilessly at varying speed, while Violetta in vain tries to stop it. With the doctor appearing in the opening scene we immediately know that this is Violetta´s final count-down.
The story is told relatively straight-forward from the sole male chorus in Act 1 underlining the pink-dressed Violetta´s status as a prostitute.

Rolando Villazón´s neurotic, hyperactive adolescent acting is perfect as Alfredo and the intensity of his performance as well as the stage chemistry between him and Anna Netrebko cannot be improved upon.
Anna Netrebko is virtually ideal as this Violetta, desperately trying to stop the clock counting down to her death. Vocally she has a wonderfully direct way of singing and an identification with this character that leaves most of her colleagues far behind. As Germont pére, Thomas Hampson was rather disappointing, both sounding and acting stiff and wooden.

Whether this staging also will work with less charismatic singers in the leading roles I am less certain about. Extensive rehearsal footage is available with the DVD.

The toast from Act 1:

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

Anna Netrebko: 5
Rolando Villazón: 5
Thomas Hampson: 3-4

Carlo Rizzi: 4

Willy Decker´s production: 5

Overall impression: 5

Vienna: Don Carlo or The unjust troubles of King Filippo of Spain

Holender´s endless speech in front of the Auto-da-fe

Don Carlo. Italian 4-act. Vienna State Opera. June 23rd 2008. Director: Pizzi. Cast: René Pape (Filippo II), Franco Farina (Carlo), Norma Fantini (Elisabetta), Thomas Hampson (Posa), Stefan Kocan (Grand Inquisitor), Luciana d´Intino (Eboli). Conductor: Marco Armiliato. Further information here.

First of all, this traditional Don Carlo production is so old it hardly matters who the director is, as the drama relies entirely on the chosen singers and thus may vary considerably.

In brief, the casting of Filippo, Posa and the Grand Inquisitor was exceptionally strong, while the casting of Carlo was exceptionally weak, leading to the following take on Verdi´s drama:

"King Filippo II of Spain is indeed a troubled man– first of all, he is the unfortunate father of an idiotic son, who constantly bothers him, rebelling against him as well as trying to steal his wife. That Filippo does not have him killed indeed testifies to his noble nature. Secondly, he is also burdened by a mentally troubled wife, who apparently seems to prefer Carlo to himself, not to mention dare sneak around behind his back. Now, why Filippo chooses Eboli does not make sense either and has to be attributed to some sort of psychological stress. Now why doesn´t he just get rid of both these women and get a decent one? Shouldn´t be too difficult. Just look at him. And he is the freaking King of Spain as well…"

I would much prefer to elaborate on Franco Farina´s strong points rather than dismiss him as already done by the Viennese press: After all, he was hired as a last-minute replacement for Sartori. And first of all, nobody expects him to be an even remotely credible alternative to René Pape´s Filippo. Any sort of anonymous interpretation would have worked fine considering the stellar casting, Thomas Hampson not the least, around him.

But unfortunately Farina manages to draw a considerable amount of negative attention to himself: Wooden and stiff stage presence, no charisma, and on top an intolerably wobbly voice with a strange sliding attack on all notes in the middle and high register. And his strong points? Well, the voice IS rather large. And the low register not entirely useless.. But I do predict him to literally be chopped liver as Otello for Riccardo Muti in Salzburg (one performance only) this summer.

In brief, no surprise from René Pape´s thoroughly commanding and dashing Filippo, entirely unmatched on stage today. In Vienna he delivered a much more troubled portrait than usual (Berlin, Munich), as he has probably been left to his own devices here. Not to mention hitting those top notes straight on in Ella giammai m´amo and in piano as well, where basically nobody else is able to hit them at all.

Thomas Hampson was absolutely magnificent. I have never seen him better. His often overly sensitive-sentimental style genuinely irritates me (Amfortas, Boccanegra, Macbeth, Mandryka, French Posa etc..). But this Posa was absolutely dashing as well as commanding -intellectual as opposed to emotional. A real man for once, not a wimp. Agreed, Hampson is no ”true Verdian barytone” (who is?) – but who cares when he performs like this? Indeed, if Elisabetta for some strange reason really does not want Filippo, what about Posa?

The highlight of the evening was the scene between Posa and Filippo – Hampson being the only Posa I have seen to truly stand up to René Pape in this scene, both vocally and dramatically making the friendship with Filippo both credible as well as the core of the drama. Which, unfortunately, cannot be said of his friendship with Carlo. Why o why does this magnificent man sacrifice his life for this Carlo? A riddle indeed…

Unfortunately, these may be Thomas Hampson´s last performances at the Vienna State Opera in the foreseeable future due to his involvement in the Herberstein affair. [ Hampson´s partner, Austrian aristocrat Andrea Herberstein is involved in a financial scandal concerning possible fraud related to a zoological park on her family´s estate in Austria. The case was presented at the Graz court during the last months and extensively covered by Austrian press, which in general treated Thomas Hampson very respectfully, repeatedly admiring his excellent German (which is indeed excellent). Hampson himself was not charged with anything, though his role in this affair has been extensively debated. Throughout the trial Hampson publicly supported his family and was been present at the courthouse as well. In July 2008 a verdict was finally reached and Andrea Herberstein was sentenced to 15 months in prison (having to serve 5 months). Several of the serious Austrian media indicate Thomas Hampson may allocate to the US hereafter, thus leaving the Vienna State Opera as well].

The other positive surprise was Stefan Kocan (previously unfamiliar to me, but definitely looking like a man of the future) as the Grand Inquisitor: Finally a true profundo bass, with adequate power, no wobble and stunning low notes. In fact the first time I have seen this scene work with René Pape, who always tends to completely overpower the sorry Inquisition (the worst in fact being at the MET in 2006, no names mentioned). Bizarrely, a cell phone started ringing exactly after the announcement "Il grande inquisitore", thus announcing his arrival..

Of the others Luciana d´Intino is a real Verdian spinto mezzo and vocally a great Eboli. Unfortunately her presence on stage is rather tame. Norma Fantini´s Elisabetta I know well from Berlin: She both looks and acts fine, and her voice has a distinct timbre and a beautiful middle section, but the top notes are shrill and marred by a vibrato that almost makes her sound flat.

The true low-point of the evening was the on-stage presentation of an honorary award by General Manager Ioan Holender to a Dr. Springer immediately after the Auto-da-fe with the entire cast present on stage. Holender literally spoke for 20 minutes non-stop in what has to be one of the most boring speeches I have heard in my entire life. The only performer on stage smiling politely after more than 5 minutes of this never-ending story was Franco Farina, which speaks well of his manners, but also leads me to believe he does not understand German.

The consequence being: The prolonged performance thus ended at the exact time it began to rain outside.

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

René Pape: 5

Thomas Hampson: 5

Stefan Kocan: 5
Franco Farina: 1
Norma Fantini: 3
Luciana d´Intino: 4
Production: 3
Marco Armiliato: 4

DVD: Gala concert at the Vienna State Opera

Gala for the 50th anniversary of the reopening of the Vienna State Opera. Vienna State Opera, November 5th 2005
Excerpts from: Don Giovanni, Rosenkavalier, Aida, Meistersinger, Frau Ohne Schatten, Fidelio

Artists include: Agnes Baltsa, Plácido Domingo, Thomas Hampson, Bryn Terfel, Violeta Urmana, Edita Gruberova, Angelika Kirchschlager. Conducting: Daniele Gatti, Zubin Mehta, Seiji Ozawa, Christian Thielemann, Franz Welser-Möst. More information here.

No matter how high the quality of the individual performances, these galas, in my opinion, tend to border on the tedious. Not the least due to the excessive applause between the contributions, at several points outlasting these in time. At least you get an impression of the atmosphere in the packed house, I suppose. During these applause session the camera repeatedly lingered on selected guests, of whom I only recognized Christa Ludwig, seated next to the entrance of the soloists and greeting many as they passed.

Is it worth watching? Definitely yes. Is it worth owning? I suppose that depends your affinity for this sort of thing and degree of liking for the individual performers.

Of particular note:

Bryn Terfel, despite a beautiful voice, is (still) not at his best in the Wagnerian repertoire (here as Hans Sachs).

Violeta Urmana - a really fine dramatic soprano. Couldn´t she be an option to resolve the much-talked-about Norma crisis at the Metropolitan Opera? I am sure she´d be great (here as Aida).

Agnes Baltsa - an immense presence on stage. She must have been completely mesmerizing to experience live in her prime, and was in impressively fine voice here (as Amneris).

Plácido Domingo - in very fine voice (as Radamés).

Angelika Kirchschlager - perhaps the ideal Octavian of today? (here as Octavian).

Christian Thielemann - does have a rather attention-seeking way of conducting (whether intentional is not for me to say), but the orchestra played gloriously with him (Meistersinger and Rosenkavalier).

Angelika Kirchschlager and Genia Kühmeier in the final scene of Rosenkavalier, Thielemann conducts:

MET HD 2008-9 schedule

UPDATE 22/4: The MET has now officially confirmed the schedule posted below (link here) without alterations. In addition the opening night is also transmitted, but only in North America.


Saturday, October 11, 2008
Salome
Franck; Mattila, Komlósi, Begley, Kaiser, Uusitalo

Saturday, November 8, 2008
Dr. Atomic
Gilbert; Cooke, Arwady, Finley, Fink, Owens

Saturday, November 22, 2008
Le Damnation de Faust
Levine; Graham, Giordani, Relyea

Saturday, December 20, 2008
Thais
López-Cobos; Fleming, Schade, Hampson

Saturday, January 10, 2009
La Rondine
Armiliato; Gheorghiu, Oropesa, Alagna, Brenciu, Ramey

Saturday, January 24, 2009
Orfeo
Levine; de Niese, Murphy, Blythe

Saturday, February 7, 2009
Lucia di Lammermoor
Armiliato; Netrebko, Villazón, Kwiecien, Abdrazakov

Saturday, March 7, 2009
Madama Butterfly
Summers; Gallardo-Domâs , Zifchak, Giordani, Croft

Saturday, March 21, 2009
La Sonnambula
Pidò; Dessay, Flórez, Pertusi

Saturday, May 9, 2009
La Cenerentola
Benini; Garanca, Brownlee, Alberghini, Corbelli, Relyea

I must admit I was surprised, that they are not (as yet) broadcasting the first Ring Cycle (the matinée cycle playing over four Saturdays). Still room for changes, I suppose, though the programme does look splendid, indeed.

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

Parsifal on DVD: Lehnhoff´s end-game in a post-atomic wasteland

Parsifal. Baden-Baden 2004. Production: Lehnhoff. Cast: Waltraud Meier (Kundry), Christopher Ventris (Parsifal), Matti Salminen (Gurnemanz), Tom Fox (Klingsor), Thomas Hampson (Amfortas). Conductor: Kent Nagano. Further information here.

Recorded live at the Baden-Baden Festival House in August 2004, this Nikolaus Lehnhoff production has also been seen at the English National Opera, Liceu Barcelona, San Francisco Opera and Lyric Opera, Chicago.

Director Nikolaus Lehnhoff, a former assistant to Wieland Wagner, presents a both fascinating and original interpretation of Parsifal: We are in a post-apocalyptic world. Living within bare concrete walls, pierced at one point by a meteorite, the "Knights of the Holy Grail" symbolizes a closed (religious?) community - originally perhaps intending to do good, but now rotten to the core. They do not venture into the sun outside, where creatures like Kundry (a feathered bird) and Parsifal (sun-burned in ragged clothes) come from. In fact, the outside sun here serves as symbol of the Holy Grail.

Personally, I imagine these Grail Knights to represent a closed community surviving in a post-atomic wasteland, where venturing outside equals dangerous exposure to the sun due to the diminished size of the ozone layer. In this context, it makes sense that the shell-clad Titurel (old enough to have been outside) appears from beneath the ground to implore the small community of survivors to reveal the Sun. Many interpretations are possible, I suppose.
Where exactly Klingsor fits into this picture, I am not sure: He appears within the bone structure of a human pelvis, indicating a metaphysical as opposed to real presence. Subsequently the Kundry-bird gradually sheds a giant shell to seduce Parsifal, who in the end has a real fight with Klingsor involving a real wooden spear. In Act 3 we are back in the concrete wasteland, the Grail Knight Community is dying from within, the members wearing white and grey bandages. After curing Amfortas in the end, Parsifal chooses to leave this sickening community (by a railroad appearing on stage) led by Kundry and followed by some of the knights, while the remainder of Knights gather around Gurnemanz, the apparent new leader.

Nikolaus Lehnhoff writes in the program notes: "After the mass destruction the last survivors, and thus the last humans, slowly begin to communicate across the ruins. Just like Parsifal and Kundry, they try to find, feel and share love and compassion once again".

A very strong cast was assembled for these performances: Waltraud Meier remains an astonishing Kundry, having brought this role to an entirely new level during the last 25 years as documented on several CD- and DVD-recordings. Matti Salminen is a commanding presence as well as vocally secure as Gurnemanz. Christopher Ventris, a both physically and vocally convincing Parsifal, is matched by Tom Fox´ fine Klingsor. Thomas Hampson may seem a bit underpowered as Amfortas, who is portrayed as weaker than often seen, but at repeated viewings, his portrait has grown on me and I find it quite fitting to portrait a leader of a sickening cult.

Kent Nagano draws a fine and lucid performance from the Deutsches Symphonie-Orchester, which also continue to gain weight after repeated listening.

A relatively tedious 30 minute documentary accompanies the DVD explaining the storyline with clips from the production. For those unfamiliar with the opera, it may be worthwhile, though.

In summary, an innovative Parsifal staging of high musical quality. For the moment, probably my favourite choice among commercially available Parsifal recordings on DVD, although those inclined towards more traditional stagings may opt for the 1982 Wolfgang Wagner Bayreuth production or the Levine-conducted, though dusty Metropolitan production (also with Waltraud Meier), both of fine musical quality.

But the search for the optimal Parsifal DVD is still not over. I continue to hope for a Barenboim release.

Waltraud Meier and Christopher Ventris in Act II:

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

Waltraud Meier: 5
Christopher Ventris: 4
Matti Salminen: 4-5
Tom Fox: 4
Thomas Hampson: 3

Lehnhoff´s staging: 4

Kent Nagano: 4

Overall impression: 4

Starry DVD Don Carlos from the Paris Châtelet

Don Carlos. Paris Châtelet 1996. Production: Bondy. Cast: Karita Mattila (Elisabeth), Roberto Alagna (Don Carlos), Thomas Hampson (Rodrigo), Waltraud Meier (Eboli). Conductor: Antonio Pappano. Further information here.

Luc Bondy is the director of this very elegant and stylish Don Carlos production, recorded live at the Châtelet Opera, Paris in 1996. The sets are simple, no attempts at showing "contemporary relevance" in the dressing, and following the libretto more or less closely. Here, Elisabeth is sleeping in Philip´s bed during the monologue - in Konwitschny´s Vienna production Eboli sleeps there. And Don Carlos is saved at last as well. Perhaps the highlight of this production is the very beautiful "lacrymosa" scene (later to be incorporated into the Requiem) in which Philip and Carlos lament the death of Posa.

A starry cast was assembled for this production lead by the superb Karita Mattila as Elisabeth and the equally fine Waltraud Meier as Eboli both with plenty of stage charisma as well as brilliant singing. It´s often been said that Waltraud Meier does not fit in well with this sort of repertoire, but here she seems more than fine. Together with Karita Mattila´s Act 5 aria, she got the biggest applause after the "Don Fatale" aria.

While Thomas Hampson was a rather anonymous Posa (why does he need to have such long hair?), José Van Dam was good, although a bit dry-voiced as Philip and dramatically very convincing. Eric Halfvarson´s Inquisitor scrambled around the floor and while rather flat vocally, he was a genuinely menacing dramatic presence. And finally Roberto Alagna... there is something very sleek about both his presence and singing here that frankly irritates me. But not the audience judged by the raptuous reception he got. Fine performance also from the orchestra conducted by Antonio Pappano.

In short, musically this performance is superior to the Konwitschny staging from Vienna, although the latter may boast of a more imaginative staging.

Karita Mattila with Elisabeth´s big Act 5 aria:

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

Roberto Alagna: 4
Karita Mattila: 5
Waltraud Meier: 5
Thomas Hampson: 4
José Van Dam: 4

Luc Bondy´s staging: 4

Antonio Pappano: 4-5

Overall impression: 4-5

Arabella: Adrianne Pieczonka, Thomas Hampson and Genia Kühmeier in Vienna

Adrianne Pieczonka and Thomas Hampson in Arabella.

Arabella. Vienna State Opera. March 2007. Production: Sven-Erik Bechtolf. Cast: Adrianne Pieczonka (Arabella), Thomas Hampson (Mandryka), Genia Kühmeier (Zdenka), Michael Schade (Matteo). Conductor: Franz Welser-Möst.

Sven-Erik Bechtolf´s postmodern Arabella takes place in METROPOL - a modern hotel cum bar, dominated by brown colours, flashing neonlights and mirrors. That apart, the story was told relatively straightforward and the production received rave reviws, not least due to the musical aspects at the 2006 premiere at the Vienna State Opera.

Adrianne Pieczonka once again showed why Richard Strauss is her true fach. Though interpretatively closer to the Marschallin (which she portrayed on the superb 2003 Salzburg Rosenkavalier DVD) than the young girl Arabella, her singing was simply superb, with wonderfully exquisite and nuanced characterization.

In both presence and manners, Thomas Hampson is close to the ideal Mandryka: The awkward, shy country-guy, not really knowing how to behave around what he perceives to be aristocracy (in fact Arabella´s family are on the fringes of upper-class Viennese society).
Luckily (for him) Thomas Hampson is so well-known at the Vienna State Opera, that his vocal indisposition (though not announced) was clear to anyone, as he was virtually incapable of hitting the notes towards the end. Once again: Whose interest exactly is the management serving by not announcing these things? I don´t even see the point in (trying to) fool the first-time operagoing tourists occupying the standing room spaces..

Genia Kühmeier was simply wonderful as Zdenka, with a shining lyrical soprano unmatched on stage today. She received the largest applause of the evening. Accompanied by a Michael Schade in top-form as Matteo.

Franz Welser-Möst conducted and the orchestra played as brilliant as ever.