DVD: Magnificent Elektra with Theorin, Westbroek, Meier, Pape

Elektra. DVD. Prod: Lehnhoff, cond: Gatti with the Vienna Philharmonics. Salzburg, 2010. Cast: Irene Theorin (Elektra), Eva-Maria Westbroek (Chrysothemis), Waltraud Meier (Klytemnestra), René Pape (Orest).

They really did assemble the best cast imaginable last years Elektra in Salzburg. Eva-Maria Westbroek, superb neurotic acting and vocally blooming delivers a Chrysothemis in the league of Karita Mattila and Cheryl Studer. Waltraud Meier as luxury casting in this role often taken by singers well into retirement, here, for the first time, you hear how this role may be sung. These two formidable ladies almost tend to oversing Irene Theorin, who by all means delivers a great performance, dramatically as well as vocally. The only question mark I´d place after her Elektra is the almost permanent wobble she has in the middle register. After all, now that her interpretation is preserved on DVD, I hope she will not sing this part too often. In fact, as Eva-Maria Westbroek will take on Isolde in 2012, we here have an Elektra trio where all three singers currently sing Isolde on the major stages.

René Pape is easily the finest Orest available on DVD, and if a finer is available on CD we will have to look at recordings before the area of stereo recordings.

Gatti´s slow, broad conducting does not leave much to be desired. Nikolaus Lehnhoff, well known for his minimalistic, dark, brooding Wagnerian interpretations, lived up to expectations with an equally minimalistic, dark, brooding Straussian interpreation.
Among the commercially Eletra DVD´s available, I shall put this at the top, narrowly defeating the Abbado/Kupfer production from the Vienna State Opera, an even darker staging. But for those with patience, it may be worth seeing what comes out of Patrice Chéreau´s production at the Met in a couple of seasons. Because Chéreau has what Lehnhoff doesn´t - the ability to make the interpersonal drama com alive.

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

Irene Theorin: 4

Eva-Maria Westbroek: 5

René Pape: 5

Waltraud Meier: 5

Daniele Gatti: 5

Lehnhoff: 4

Overall impression: 4-5

Kaufmann Lohengrin DVD with Harteros, Richard Jones from Munich

Lohengrin. DVD. Bayerische Staatsoper München 2009. Production: Richard Jones. Conductor: Kent Nagano. Cast: Jonas Kaufmann (Lohengrin), Anja Harteros (Elsa), Michaela Schuster (Ortrud), Wolfgang Koch (Telramund), Christoph Fischesser (Heinrich).

Richard Jones´ production of Lohengrin in Munich was The Wagnerian Talk of the Season 2009-10 mainly as this was Jonas Kaufmann´s debut in the title role. As well as his first major role in a new production in his home-town Munich, where he was never recognized until he undisputedly had made his name elsewhere.

It seems like Richard Jones concept evolves around an ironic interpretation of the bourgeois dream, of a traditional living and family, with Elsa and Lohengrin quite literally building a house together dressed as carpenters. A house, which Lohengrin eventually sets on fire when he leaves. Now, I have seen several productions by Richard Jones, which work. Most notably a superb Rusalka in Copenhagen a couple of seasons ago. Thus speaking, he is capable. So, one wonders what òr who on earth made him think that extracting all the interpersonal drama replacing it with something as boring as watching people building a wooden house works? To be answered clearly: It does not work. Some free advice: Forcing a fixed idea onto an opera with no seeming interest in the personal relations almost never works.

Jonas Kaufmann was exactly the stellar Lohengrin he was made out to be - romantic, present, and with a barytonal sound, that I honestly prefer. He doesnt always sound entirely effortless, but neither did Domingo in his prime. Please, could we see Jonas Kaufmann in another production?
Anja Harteros received unanimous praise for her Elsa, both during the run of performances and for this DVD. As for this DVD, I simply do not agree. She has the bloom and the legato lines, but for me, the two major detractors about her singing is 1) she basically leaves me cold and 2) she is singing out of tune. As for 2), she may have had an off night, as her intonation has been spot-on the times I have heard her live, but "einsam in trüben tagen" was about 1/4 note flat more often than not. Admittedly she warmed up during the 2nd act, but I am really allergic to singers being flat.
The former Munich opera intendant found the originally contracted Waltraud Meier too old for the part and replaced her with the passable, but nothing more, Michaela Schuster. Crazy. However, the new intendant does not agree, so now one may see Waltraud Meiers Ortrud in Munich.
 Also crazy that the producer didn´t chose another night for filming Telramunds major scene, Act 2 scene 1, as the otherwise competent Wolfgang Koch was about a tact behind the conductor at several of his outbursts.

Kent Nagano is far better here than on his previous DVD from Baden-Baden, less restrained, with more passion - hovewer his transparency will never put him in the league of great Wagnerian such as Thielemann or Barenboim, just two mention two currently active.

So unless you are a die-very-hard fan of Jonas Kaufmann, look elsewhere for a Lohengrin on DVD.


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

Jonas Kaufmann: 5
Anja Harteros: 3
Michaela Schuster: 3
Wolfgang Koch: 3
Christoph Fischesser: 3-4

Richard Jones: 2
Kent Nagano: 3

Overall impression: 2 - because on DVD the director really does count

Anna Prohaska Sirene

Anna Prohaska: Siréne. CD. Deutsche Grammophon. 2011. With Erich Schneider (piano).

Anna Prohaska (born 1983) is hardly an insider-tip anymore, presenting her first solo CD for Deutsche Grammophon.

She studied at Hans Eisler Academy of Music in Berlin and I remember when she graduated with maximum honours not more than a couple of years ago. Already as a student, she became a member of the Berlin Staatsoper, where I have heard her in various minor roles (such as the shepherd in Tannhäuser, a flower maiden in Parsifal) and in 2008 as a water nymph in Rusalka in Salzburg. Admittedly local Berliners gathered she was destined for stardom before I did, and only recently in Salzburg  did I hear her for the fist time in a leading role, as Despina in Cósí Fan Tutte.

And destined for stardom I am convinced that she is, perhaps more convinced than with any other soprano her age. Because not only does she have a beautiful voice - a very beautiful voice, with a wonderfully dark middle register and effortless top notes. But there is also something very technically solid about her singing, displaying a fabulous technique with completely even shifts between lower and upper register, and a style which at times is almost altmodisch resembling the style of Dorothea Röschmann.

The theme of this recital (hardly an enviable task having to come up with original themes for recitals) is Siréne, waternymph. Not that I´d immeditialy associate her voice with the fleeting spirits of a waternymph, but nevertheless she is outstanding in this program ranging from Purcell and Dowland over Schubert and Schumann to Szymanovski. Best perhaps in the classic german songs such as Schuberts Des Fischers Liebesglück.

I remember once reading an interview with Daniel Barenboim, a frequent collaborator of Anna Prohaska´s, stating that after 30 minutes of singing he would know if a young soprano was eventually destined for Wagner or Mozart. In the case of Anna Prohaska, I´d be curious to hear his opinion.

Not to be missed.

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

Mojca Erdmann, Mozarts Garden, Mostly Mozart, Mostly Sweet

Mojca Erdmann: Mozarts Garden or mostly mozart. CD 2011. Deutsche Gramophone

If one upcoming soprano is marketed for stardom it is the German lyric soprano Mojca Erdmann. With the same manager as Anna Netrebko, the ways for major contracts seems paved, such as Zerlina both in Baden-Baden this summer and in the new upcoming Met production this fall.

Initially named "mostly mozart" for the German release, the international release will be called "mozart´s garden". A more catching title, agreed for this all-Mozart program ranging from Zaide to Magic Flute.

From the accompanying material to the CD we learn that Mojca Erdmann loves Mozart more than anyhing, that Mozart makes her cry and that she loves flowers. And this is how Deutsche Gramophone markets her: Sweet, sweet sweet. She also looks sweet, of course.

And, almost needles to say, she sings sweetly as welll. And she does have a beautiful voice, especially in the high register. What I miss, is individuality, personality. She sings Pamina as she sings Zaide. Sweetly, clearly concentrating on the beautiful sound over the textual drama. And, though the voice indeed is beautiful, to my taste her use of a certain slow vibrato is excessive in the middle register, and more than once this specific quality reminded me of some pop singers attempting opera.

Though perhaps unfair (to Mojca Erdmann), it is almost impossible not to compare her to Anna Prohaska, also German, also in her mid-twenties and with overlapping repertoire on stage.

Personality, obviously, is something to develop. But I would expect to see more at this stage of her career if she eventually is to become truly loved by audiences. Publicity may go some (a long) way, but eventually it is her personality that will make her career.

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

Wonderful Christian Thielemann in Salzburg Die Frau Ohne Schatten



© Monika Rittershaus for Salzburger Festspiele

Die Frau Ohne Schatten. Grosses Festspielhaus, August 17th, 2011, Salzburg Festival. Christian Thielemann conducts the Vienna Philharmonics. Director: Christoph Loy. Soloists: Anne Schwanewilms (Kaiserin), Stephen Gould (Kaiser), Wolfgang Koch (Barak), Evelyn Herlitzius (his wife), Michaela Schuster (Amme).

• Maximum points to Christian Thielemann for a marvellously conducted performance, powerful and detailed and with the uncut version.
• Minimum points to Christof Loy for his non-staging, placing the action in the famous recording studio Sofiensaal at the time of the first recording of the opera (1955), creating a static and ineffective staging adding no more to the opera than a concert performance. And, for some obscure reason, the end takes place in the middle of a Christmas concert. Or indeed, adding less, as the secondary daily day drama between the characters singing Barak and his Wife is both annoying and redundant. To reduce Richard Strauss´ epic fairy-tale to this is simply a shame. Christof Loy is well-known for his static stagings (among the recent a rather superb Lucio Silla), but this is by far the most extreme he has taken his directorial approach. The next step would indeed be a concert performance. A golden opportunity for a magnificent DVD thus wasted, as Die Frau really is a conductors opera and some may well feel that Thielemann surpasses both Sawallisch and Solti on previous DVDs (Sawallisch perhaps but not Solti, imho....)
• All singers were good, but none were real standouts. Anne Schwanewilms, who originally trained as a mezzo, has a simply wonderful voice and etwas altmodisch way of singing almost vibratoless in the middle register, though the voice may be in the smaller range for the Empress. Always dramatically effective, though not overly nuanced vocally was Michaela Schuster, while Stephen Gould delivered the best I have heard him do and in any respect ways above his rather dismal Siegfried in Bayreuth a couple of seasons ago. Evelyn Herlitzius received the second biggest ovation (after Thielemann) for a Wife of Barak (a somewhat vocally tired Wolfgang Koch), probably not to be seen much better today, despite occasional straining especially in the upper register. And I must admit to simply not really liking her voice.

Opening of Act 3:

The bottom line (scale of 1-5, 3=average):
Christian Thielemann: 5
Christof Loy: 1
Stephen Gould: 3
Evelyn Herlitzius: 3
Anne Schwanewilms: 4
Michaela Schuster: 3-4
Wolfgang Koch: 3
Overall impression: 4 (because the conductor is really the crucial point in this opera)

Salzburg Iolanta and Rossignol with Anna Netrebko and plenty of Russian talents

Rossignol/Iolanta double bill. Concert performance. August 15th, Grosses Festspielhaus, Salzburg.
Ivar Bolton conducts the Mozarteumorchester Salzburg. Performers: Julia Novikova, Julia Lezhneva, Antonio Poli, Andrei Bondarenko (all Rossignol), Anna Netrebko, Piotr Beczala, Alexei Markov, Evgeni Nikitin, John Relyea u.a.

What most will not find surprising:

• That Iolanta is a role perfectly suited to Anna Netrebko´s darkly coloured soprano, and Tchaikovsky´s somewhat squared phrases suit her perfectly
• Though Piotr Beczala by all means did well, he was pulverized by Netrebko, both dramatically and vocally, especially in the duet. That he used the score, as opposed to her, did not help either

Otherwise:

• Alexei Markov (Robert in Iolanta) was stunning and deservedly received the biggest ovation of the evening (Netrebko excluded)
• Also in live concerts(as opposed to on DVDs) John Relyea comes off as wobbly and shaky, but he gets point for his acting and for having learned the part by heart
• Julia Novikova (the nightingale) has a too big vibrato especially in the middle register, preventlng the Nightingale from sounding truly beautiful
• On the other hand Julia Lezhneva was impressive as the cook
• Andrei Bondarenko, the newly appointed winner of the Song prize at the Cardiff Singer of the World competition, whom many felt should also have won the main prize, used his warm lyrical barytone to portray the Emperor of China.
• Both Evgeni Nikitin and Antonio Poli mad the most of their relatively small parts

Muti with the Verdi Requiem in Salzburg

Verdi Requiem. Grosses Feststpielhaus, Salzburg Festival. August 15th. Riccardo Muti conducts the Vienna Philharmonics. Soloists: Krassimira Stoyanova, Olga Borodina, Saimir Pirgu, Ildar Abdrazakov.

• Muti conducted not without nuance, but his version of the Verdi Requiem is still mainly brisk and powerful
• I still wonder to what extent the Vienna Philharmonics could actually play this piece without a conductor, though obviously someone has to coordinate between orchestra and choir
• Olga Borodina was in booming voice, seemingly oblivious to fellow colleagues as well as the conductor and absolutely NOT blending in with Krassimira Stoyanova´s distinctly different vocalism and significantly smaller voice.
• Well done by Saimir Pirgu, while Abdrazakov did not have an exceptional day
• I spotted a total of 5 women in the orchestra (one concert master, the rest strings). This does not indicate all five are members of the Vienna Philharmonics as the orchestra often hire "seasonal employers" for the Salzburg Festival.
• After the soprano´s initial "libera me", in the orchestral pause a cell phone went off...
• Grosses Festspielhaus was sold out despite the distinctly antisocial hour of this concert (11 am). Later I found out that this day is a national holiday in Austria, which does not influence the hour of the concert as the Vienna Philharmonics traditionally play several series of concerts at this hour.

Salzburg 2011 - Claus Guth Cosi Fan Tutte in a major revision

@ MonikaRittershaus for Salzburger Festspiele

Cosí fan tutte. August 16th, Haus für Mozart, Salzburg Festival. Prod: Claus Guth. Cond: Marc Minkowski with Musiciens du Louvre. Cast: Maria Bengtsson (Fiordiligi), Michele Losier (Dorabella), Anna Prohaska (Despina), Alek Shrader (Ferrando), Christopher Maltman (Guglielmo), Bo Skovhus (Alfonso).

It is a major revision of his 2009 staging of Cosi Fan Tutte presented by Claus Guth at this years
Salzburg Festival. A pity really, that the 2009 version is already preserved on DVD, as this "new" version is more closely related to the rest of Guth´s Da Ponte trilogy (Nozze di Figaro, 2006 on DVD and Don Giovanni from 2008).
In 2011 we see the plain interior of a white house, complete with the staircase from Nozze di Figaro. The party from 2009 is over and now all excesses have been dispersed with leaving a pure psychoanalytical room, the looming pine forest (also seen in Don Giovanni) gradually dominating the house, while the two girls are increasingly covered in  (symbolical) dirt, as the two black-clad angels of Alfonso and Despina lurk around and occasionally freezes the action. Those familiar with his Nozze di Figaro will immediately nod in recognition. However, really touching, it is never. And though the theatrical assemblances to both Nozze and Don G are obvious, it is not so obvious exactly what to make of them.
But a major revision it certainly is - I don´t remember having seen such fundamental changes in the conception and execution of a work between seasons before, compared to what is on the DVD this is a substantially different production.

As always with Guth, those prefering a bubbly comedy should look elsewhere, but judging from the big applause (as opposed to the booing when this production opened in 2009), the Salzburger audience seems to have learned  this lesson - after all Claus Guth initiated his Da Ponte cycle in 2006, which is now completed and all three Da Ponte operas may be seen at this years festival.
Curiously, a Japanese tourist continued to take photographs using his flash during the performance, which was quite annoying - I could see exactly who it was, and where he was seated (on the balcony, while I was on the parterre). Why someone didn´t stop this, I simply fail to understand. Germans/Austrians are not exactly known to restrain themselves when it comes to operatic etiquette. But perhaps too many tourists were present..

This time, it was not the Vienna Philharmonics playing, instead Marc Minkowski brought his Musiciens du Louvre in a fresh take on the score.

Vocally, Maria Bengtsson was disappointing - a slim voice with a nasal sound, shaky coloratura, strange shifts in tempo and seeming to hold somewhat back. Michele Losier, who will perform in Faust later this year in both London and New York, was a fine Dorabella, however the standout of the female cast was clearly Anna Prohaska, with superb Mozartean style and sense of characterization and crystal-clear singing. My guess: In five years she will be singing the Mozartean repertoire everywhere.

Among the males, both Bo Skovhus and Christopher Maltman brings weighty stage presence, though Maltman occasionally acts more than he sings. Also Alek Shrader seems on his way to more major assignments with convincing acting and unstrained vocalism.

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

Christopher Maltman: 4
Bo Skovhus: 4
Alek Shrader: 4
Maria Bengtsson: 3
Michele Losier: 4
Anna Prohaska: 5

Marc Minkowski: 4

Claus Guth: 3-4

Overall impression: 4

Paris: Werther with Jonas Kaufmann and Sophie Koch

Werther. DVD. Paris Opera Bastille 2010. Production: Benoit Jacquot. Conductor: Michel Plasson. Cast: Jonas Kaufmann (Werther), Sophie Koch (Sophie), Ludovic Tezier (Albert), Anne-Catherine Gillet (Sophie)

This is one of  the very few opera DVDs where you have to search in your bag of superlatives and just use them up. Moving, transporting, stunning..name it. One of the best opera DVDs ever released. I cannot recommend it enough. I remember the reports from Paris in 2010 speaking of electrified audiences and sold-out performances.
Jonas Kaufmann, (in his role debut) is simply smashing as Werther, vocally as well as dramatically, a role he was born to sing, with his classical look of the romantic hero.
Equally so is for Sophie Koch as Charlotte, entirely believable and immensely touching. The scenes between Werther and Sophie are simply heart-breaking effectively contrasted to Ludovic Téziers unusually menacing Albert.
Benoit Jacquot´s staging of Werther for the Bastille Opera is not exceptional per se, naturalistic and with a gloomy Hammershoi-inspired look. He simply tells the story, which, with these protagonists is more than enough and testifies that traditional productions do not necessarily equal boredom, even for Regietheater enthusiasts. Few will see this DVD and remain unmoved.

Jonas Kaufmann and Sophie Koch in Act 3:

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

Jonas Kaufmann: 5

Sophie Koch: 5

Ludovic Tezier: 5

Anne-Catherine Gillet: 4

Benoit Jacquot: 5

Michel Plasson: 4

Overall impression: 5



Villazon comeback in Vienna

As in January 2008, Rolando Villazon chose Vienna for his comeback, this time as Nemorino (L´Elisir d´amore), after vocal chord surgery. A logical choice, as he is much loved there, and audiences predictably reacted with major ovations including 5 minutes applause after "Una furtiva lagrima".
Others were rather critical of his performance, to put it mildly.

However, Nemorino is a sort of warm-up round and the next months will show. Next up is Eugene Onegin in Berlin next week in a 100% pre-choreographed Achim Freyer production where he cannot hide behind neither acting skills nor Barenboim´s orchestra.

Until we know how this turns out, why not live in the past: Same singer, same production, same place...same voice?