Peter Grimes: Peter Pears or Jon Vickers?

For anyone wishing to engage in a serious discussion of Peter Grimes, these are the two cornerstone interpreters you will need to familiarize yourself with:

Peter Pears (1910-1986), the original creator of Peter Grimes in 1945 and Benjamin Britten´s lifelong partner. Peter Pears´ Peter Grimes is a light-voiced, lyrical dreamer, here from the 1969 BBC film, released on DVD in the Mad Scene:

A radically different approach to Peter Grimes was taken by Canadian heldentenor Jon Vickers (born 1926) as a heavy-weight and troubled Peter Grimes with shattering intensity, where violence lurks just beneath the surface. Apparently Britten detested Jon Vickers interpretation, here from 1981, released on DVD, also in the Mad Scene:

As they say, in arts there doesn´t have to be a winner. Though in this case I wouldn´t hesitate to cast my vote in favour of Jon Vickers, despite the undisputed qualities of Peter Pears.

DVD: Tan Dun The first emperor

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

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

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

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

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

Plácido Domingo from the first act:

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

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

Zhang Yimou´s staging: 4

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

Overall impression: 3

DVD: Peter Grimes from the Met

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

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

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

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

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

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

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

Promotional video:

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

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

John Doyles production: 4-5

Donald Runnicles: 4-5

Overall impression: 4-5

Zurich: Tristan and Isolde with Nina Stemme and Ian Storey

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

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

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

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

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

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

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

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

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

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

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

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

Claus Guth´s concept: 5

Ingo Metzmacher: 4-5

Overall impression: 4

DVD: Hansel and Gretel in Richard Jones Met production

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

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

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

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

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

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

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

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

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

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

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

At the witchs house:

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

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

Richard Jones´production: 4-5

Vladimir Jurowski: 5

Overall impression: 4-5

Posted by Arsace86 on YouTube

René Pape: King Marke

René Pape: King Marke´s monologue (Tristan and Isolde, Act 2). Claudio Abbado conducts the Lucerne Festival Orchestra, 2004:

Posted by ancentre on YouTube

Christine Schäfer: Winterreise

Christine Schäfer: Winterreise. With Eric Schneider (piano). Released 2006. Further information here.

Being a high, lyric soprano, Christine Schäfers 2006 recording of this baritone/mezzo or lower standard fare is most courageous. Not the least since her interpretation is entirely compelling. Christine Schäfer´s approach to Winterreise is cool, clear and unsentimental applying an an almost vibrato-less tone truly evocative of the cool winter. Not the taditional lyric-emotional tragedy, but the contemporary relevant and insightful portrait of someone, who choses to leave society. Simplistic, naked honesty is perhaps what ultimately makes Christine Schäfer´s rendition so compelling.

Christine Schäfer: Gute nacht (song nr. 1 - audio only):

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

5

Posted on YouTube by hillevifan

Lady Macbeth from Mtsensk on DVD: Smashing Westbroek and Jansons in superb Kusej production

Lady Macbeth from Mtsensk. Amsterdam 2006. Production: Martin Kusej. Cast: Eva-Maria Westbroek (Katerina), Christopher Ventris (Sergei). Conductor: Mariss Jansons with the Concertgebouw. Further information here.

A winner from start to end: Martin Kusej´s 2006 Amsterdam production of Lady Macbeth from Mtsensk, which will play at the Paris Bastille Opera in January 2009. I simply cannot imagine a better performance of this opera.

First of all, this is one of Martin Kusejs best stagings: He digs deep into the socio-politic aspects of the work with stark white/dark abstract sets. His (and Shostakovich´s ) sympathies clearly lies with Katerina, a woman literally trapped behind bars in a quadrangular glass structure at the center of the otherwise completely dark stage. Kusej strips the work from all excesses to reveal the naked emotional core. Quite an accomplishment. And moving as well as eerie. Not to mention the most convincing realization of the sex scene between Sergei and Katerina: By stroboscopic lighting, the scene becomes both realistic and eerie as opposed to semi-stupid.
Mariss Jansons connection with Shostakovich is obvious from bar one and the performance from the Concertgebouw is simply shattering.

Eva-Maria Westbroek is a wonderful Katerina, stunning acting and highly expressive singing in a performance I cannot imagine bettered. Partnered by Christopher Ventris, who makes the most out of his immensely unsympathetic signature part.
There really is no competition for this Lady Macbeth on DVD. The only live alternative is Stein Winge´s production from Barcelona, vastly inferior both in terms of production and musical execution.

45 minutes excellent bonus material including interviews with Martin Kusej, Jansons and the protagonists.
Highly recommended. One of the overall best opera realizations on DVD.

Eva-Maria Westbroek and Christopher Ventris:

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

Eva-Maria Westbroek: 5
Christopher Ventris: 5

Martin Kusej´s production: 5

Mariss Jansons: 5

Overall impression: 5

Posted by Foly90 on YouTube

Copenhagen: Anna Larsson shines in Das lied von der Erde

Photo from a concert in New York with Boulez and the Lucerne Orchestra

Das lied von der Erde. Copenhagen, November 28th, 2008. Soloists: Anna Larsson and Robert Dean Smith. Thomas Dausgaard conducts the Danish Radio Symphony Orchestra. Details here.

With tears streaming down her cheeks, Swedish contralto Anna Larsson proved why she probably is the finest Mahler contralto on stage today in this Copenhagen performance of Das lied von der Erde with American tenor Robert Dean Smith and Thomas Dausgaard conducting the Danis Radio SO.

Anna Larsson really sounds like a genuinely contralto and not just a deep mezzo. She has a beautiful voice, even throughout the entire register, but with a fascinating power in the lower-lying sections. Quiet and unassuming in appearance, she achieves everything with her voice in a refreshingly unsentimental interpretation, perhaps the reason why she was entirely compelling. Apart from Mahler, Anna Larsson is virtually first-choice as Erda today, with upcoming performances in both Vienna, Valencia and Aix-en-Provence.

Though the power of Anna Larsson singing left Robert Dean Smith somewhere in the middle, not many tenors may be able to match his performance today, if any at all.

The occasion was in fact a farewell concert to the Danish Radio Orchestra Hall, which moves into a new Concert Hall January 2009. Perhaps a bit too highly strung repertoire choice for that, after all, its one institution moving to another, hardly an occasion for pathos. Furthermore, the second half of the concert consisted of Haydns Farewell Symphony, a decidedly stange companion to the Mahler.

Overall impression:

Anna Larsson: 5
Robert Dean Smith: 5

Thomas Dausgaards orchestra: 4

Overall impression: 5

DVD: 1972 Götz Friedrich Tannhäuser with Gwyneth Jones doubling as Venus/Elisabeth

Tannhäuser. Bayreuth Festival 1978. Production: Götz Friedrich. Cast: Spas Wenkoff (Tannhäuser), Gwyneth Jones (Venus/Elisabeth), Bernd Weikl (Wolfram), Hans Sotin (Hermann). Conductor: Sir Colin Davis. Further information here.

This 1972 Tannhäuser was the production initiating a new era, both in Bayreuth and elsewhere, where it was overdue finding an alternative to the New Bayreuth stagings of Wieland Wagner, which 4 years after his death now seemed to have stagnated.

When Götz Friedrichs Tannhäuser opened in 1972 it created the biggest scandal in 16 years (since Wieland Wagner dared to dispense with a naturalistic Nürnberg for this 1956 Meistersinger) at the Bayreuth Festival, including the conductor Erich Leinsdorf walking out in the middle of the run.
Why? one may ask after having seen it, as it is indeed rather tame judged by todays standards. One reason was Götz Friedrichs intensive personenregie, where characters actually roll on the floor and interact with one-another, apart from being half-naked.
However, the major controversy surrounded the on-stage appearance of the chorus in the final scene in reddish costumes, which were perceived as representing the communism of Götz Friedrichs native East Germany. In fact, this part of the staging was a last-minute alteration as Friedrich originally had planned only Wolfram and Tannhäuser to be present on the stage during the final, and was not intended to symbolize communism in any way.
Furthermore, some of the flags on display during the entrance to the Singers Hall was not un-similar to Nazi-symbols. And that, apparently was too much for Erich Leinsdorf and many critics and audiences.

However, in 1978 the production was hailed as a masterpiece and recorded as the first complete opera from the Bayreuth Festival.

Götz Friedrichs Personenregie is still alive, the sets and rest of production unfortunately have succumbed to the passing of 30 years, in contrast to the contemporary Chéreau Ring.´

Seemingly set around Wagners time, the production is minimalistic and semi-abstract.
Götz Friedrich clearly wishes to emphasize Tannhäuser's role as the artist-outsider in a militaristic and hostile society. Thus, the opera begins with him looking through the strings of his harp as were they jail bars. An he seems almost caught in an odd Web spanning the width of the otherwise naked stage in the Venusberg scene of the complete Paris version, where naked nymphs in webs dance to John Neumeiers choreography.

To say that Gwyneth Jones looks good as Venus would be an understatement in a production, which basically has her wearing an upper body fishing net. Exciting as ever on stage, and recorded before her wobble became too pronounced, she is still more of a Brünnhilde than Venus/Elisabeth. But I cannot imagine anyone else around that time, who would look equally good in that fishing net. Where she really shines is in Elisabeth's final prayer "Allmächtge Jungfrau", acted with tears rolling down her chin in a very committed and moving performance.

Spas Wenkoff is a great Tannhäuser, perhaps not an overly committed actor, however that is rather picky comment considering he immense vocal challenges of the part, which he navigates seemingly without effort. The young Hans Sotin is a noble Landgraf and Bernd Weikl is a superb Wolfram, a portrait which I cannot imagine being done better.

Accompanied by a fresh and engaged reading from Sir Colin Davis.

Curiously, much has been done to make this look like a live Bayreuth Festival performance: Applause after each act and even curtain calls. Though it is done rather amateurish with the applause not really being coordinated with the appearance of the singers.
I would categorize this sort of thing as misleading the DVD-viewing public. For recorded in the beginning of July 1978, approximately 3 weeks before the Festival opened it clearly is not an official Bayreuth performance. And I doubt, based on the appalling applause coordination, that an audience was present in the auditorium at all. A good thing they didn´t repeat this in future Bayreuth DVDs.

Gwyneth Jones as Venus:

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

Spas Wenkoff: 4
Gwyneth Jones: 4
Hans Sotin: 4
Bernd Weikl: 5

Götz Friedrichs production: 3

Sir Colin Davis: 4

Overall impression: 3