Renée Flemings 14 minutes in Copenhagen

Renée Fleming and Christoph Eschenbach in Copenhagen

Renée Fleming with Orchestre de Paris conducted by Christoph Eschenbach. Copenhagen, May 11th, 2009. Program: Capriccio final scene and Bruckner´s 9th symphony. Extras: Zueinigung and Morgen (R. Strauss).

Upon reading that at her recent London concert, Renée Fleming was criticized for singing approximately 20 minutes, I was reminded that immediately before her visit in Copenhagen earlier this year, I wondered what the minimum "acceptable" amount of singing at a vocal concert was. In London, she apparently was on a sort of CD-promotion tour. In Copenhagen she sang from Richard Strauss´ Capriccio: 14 minutes + 2 extra orchestra songs = 20 minutes as well. But then, she arrived with the Orchestre de Paris and Christoph Eschenbach, and the Bruckner symphony was well worth a visit. For some. Though, most certainly, the ticket prices reflected on Renée Fleming´s contribution rather than Christoph Eschenbachs, as fine as it actually was.

As to Renée Flemings singing, Richard Strauss is what she does best. She thinks so herself and I don´t hesitate to agree with her. She still has that exact blooming quality in her voice I would have imagined Richard Strauss wrote this music for, combined with exquisite phrasing. And then she is a nice person as well, turning around and singing Zueiningung facing the large part of the audience with cheap tickets sitting directly behind the orchestra.

She will be back in Copenhagen in November 2010. Hopefully with more than 14 minutes. Less is hardly feasible, I suppose.

The bottom line:

4

DVD review: Cunning little Vixen

The cunning little vixen. Paris Bastille Opera 2008. Production: André Engel. Cast includes: Jukka Rasilainen (Forester), Elena Tsallagova (Vixen), Hannah Esther Minutillo (Fox). Conductor: Dennis Russell Davies. Further information here.

André Engel and his team has simply created a great, straight-forward production of Janacek´s opera The cunning little vixen. A couple of seasons ago, the same team created an elegant art deco production of Cardillac for the Paris Bastille Opera, and essentially the recipe for this Vixen is the same: Minimalistic, stylish sets and straight-forward story-telling.

This Cunning little Vixen takes place in and around a railway-station. This is where the Forester lives. The rails are a permanent feature of the sets, appearing in front of a summer-landshape of sunflowers, which turn to winter towards the end of the opera. The changing of seasons as well as the influence of human industry on nature. All the animals are dressed in colourful costumes, and a child-like fairy-tale like atmosphere pervades.

All the singers are convincing singer-actors in parts, which admittedly are not too difficult to cast: This is a conductors opera. To bring off the majestic interludes is what makes this work take off. If I had never heard The Cunning little Vixen before I would probably have thought the orchestra played transparent, but well with Dennis Russell Davies. Unfortunately, however, I have heard what this score sounds like when conducted by Sir Charles Mackerras, such as in the Paris Châtelet Opera production (released on DVD in Hytner´s frankly unspectacular staging) 13 years ago: Sumptuously and densely compelling. It is hard not to wish for such a sound for this otherwise excellent production.

Excerpts here:

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

The singers: 4-5 to all

André Engel´s production: 5

Dennis Russell Davies: 3

Overall impression: 4

Copenhagen: Disappointing Eugene Onegin

Natalya Kreslina and Audun Iversen

Eugene Onegin. Royal Danish Opera, September 6th 2009. Production: Peter Konwitschny. Cast: Audun Iversen (Eugene Onegin), Natalya Kreslina (Tatiana), Jenny Carlsted (Olga), Niels Jørgen Riis (Lenski), Gustav Belacek (Gremin). Conductor: Michael Schønwandt.

I sincerely do not hope, this is what the Royal Danish Opera gets (rather: Has chosen) instead of the originally promised new Peter Konwitschny production of Die Frau Ohne Schatten, which he, most unfortunately, has withdrawn from: His 1995 production of Eugene Onegin, immediately recognizable to train-afficionados as it is modeled on the Leipzig train station in the concrete sense, and the cruelty of rigid social structures in the abstract sense.

Am I unable to love Eugene Onegin outside the context of Tchaikovsky and Pushkin? I hope not. Quite as expected, Peter Konwitschny clearly rejects that universe, and, as always in his stagings, outer circumstances (such as social and political structures) is a major determinant of character outcomes, thus there are neither any entirely good nor entirely evil characters. Konwitschny clearly and intelligently explained this point of view in a local newspaper before the premiere. Based on Konwitschny´s theoretical arguments, this is a both exciting and moving production of Eugene Onegin. Based on actually seeing this production in the theater, unfortunately, it is not.

What is it about then? I am not sure. We see the Leipzig Train Station with people moving in and out (modern dress, obviously). The audience is part of the tale, as Gremin and Tatiana move to a balcony and Onegin in front of the orchestra pit at certain points. Theatre within the theatre. Society makes Onegin and Tatiana what they are, Tatiana ultimately left alone while Onegin returns to the ranks of spectators. All of this leaves me extra-ordinarily non-moved, though I would not be surprised if Audun Iversen goes on to have a major career.

At this point, I would normally say that at least Michael Schønwandt and the Royal Danish Orchestra saved the evening. Unfortunately they did not as Schønwandt chose a very transparent reading of the score cementating this as a rather boring evening.

What makes this all the more irritating is the fact the Peter Konwitschny really does know how nail it (Michael Schønwandt as well): Their almost-beyond-praise production of Elektra, without doubt the best performance I have seen in my 25 years as a regular visitor to the Royal Danish Opera, will come up this Spring. As they say: Now is the time to look to the future.

The bottom line:

Audun Iversen: 4-5
Natalya Kreslina: 4
Jenny Carlstedt: 3-4
Niels Jørgen Riis: 3-4
Gustav Belacek: 3-4

Peter Konwitschny: 1

Michael Schønwandt: 3-4

Overall impression: 2

Irmgard Seefried - lieder

Irmgard Seefried - lieder. 2-CD release of previously released material. Released 2007. Further information including track-list here.

German soprano Irmgard Seefried (1919-1988) was an ensemble member of the Vienna State Opera in the socalled golden period of the 1050´s, contemporary with Elisabeth Schwarzkopf, Lisa della Casa, Christa Ludwig. A lyric soprano, among her operatic roles she was most renowned singing Mozart (Pamina, Susanna) and Richard Strauss (Composer-Ariadne and Octavian).

Most will agree, though, that where she truly excelled was in lieder, where she was perhaps the most admired interpreter of her time. I would expand that statement to say that, in my opinion, she is among the very few finest lied interpreters of all times.

What makes Irmgard Seefried so compelling is her completely unmannered and straight delivery, rendering a timeless air to her interpretations. Even Elisabeth Schwarzkopf stated that everyone in Vienna around that time admired Irmgard Seefried for her naturalness. Communicating the message always takes first place with Irmgard Seefried applying a minimum of vibrato and an even register, though strictly technically, she may be less than perfect, occasionally drifting slightly off-pitch. However, these things hardly matter as the apparent sincerity and honesty are entirely unmatched.

Among the many highlights are Mussorgsky´s Nunnery. Irmgard Seefried did much to "rehabilitate" the songs of Mozart, previously considered light fare, which are also represented here.

This double-disc is a re-release of previous recordings between 1953-60. Accompanied by Erik Werba.

Irmgard Seefried in her absolute prime (1947) with Schuberts Wiegenlied:

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

5

DVD Eugene Onegin with outstanding Mariusz Kwiecien

Eugene Onegin. Paris Palais Garnier 2008. Director: Dmitri Tcherniakov. Cast: Mariusz Kwiecien (Eugene Onegin), Tatiana Monogarova (Tatiana), Andrey Dunaev (Lenski), Margarita Mamsikova (Olga), Anatoli Kotcherga (Gremin). Conductor: Alexandre Vedernikov with the Bolshoi orchestra and choir.

It is not a small thing to update the Russian National Opera, a project even young director Dmitri Tcherniakov admittedly felt more than slightly daunted by, replacing the 1944 production with this one, opening 2006 in Moscow. Following his intriguing and outstanding productions of Boris Godunov and The Gambler (both at the Berlin State Opera) and Khovanshchina (in Munich), this Bolshoi production opened the 2008-9 opera season at the Palais Garnier, Paris. Almost an exclusive Russian cast of several generations of Bolshoi singers, the Madame Larina and nurse being former Tatiana´s, there is a certain Russian mood to Eugene Onegin, though not nearly as much as I´d expected.

Not surprisingly, Dmitri Tcherniakov frees himself of the romantic world of Pushkin, Tchaikovsky and their contemporaries, though, again, not nearly as much as expected. Tcherniakov simply sets the entire production around a dinner party in an upper-class living room. Which, to a certain extent, works relatively well, mostly due to his excellent direction of the singers. This Onegin is really not so haughty, he doesn´t even shoot Lenski by purpose and almost (though not quite) kills himself when he is rejected in the end. However, this living-room context still does take some of the life out of the opera, making it slightly less than engaging theatre. Considering the first-rate DVD-competition from both Metropolitan Opera and Salzburg productions in 2007, this DVD is hard to recommend.
Unless, obviously, you are a fan of Mariusz Kwiecien, who is simply outstanding as Eugene Onegin. He has a touch of lofty Russian air, seemingly ease with both language and expression (he is Polish) combined with great acting and close-to perfect voice. Next to Dmitri Hvorostovsky and Peter Mattei, we now have the third great contemporary Eugene Onegin on DVD. Unfortunately in a production inferior, both musically and scenically to both Hvorostovsky´s (the Met by Carsen with Renée Fleming and Gergiev) and Mattei´s (Salzburg by Breth with Anna Samuil and Daniel Barenboim).
The rest of the cast, save Anatoli Kotcherga´s excellent Gremin, is rather forgettable, though points must be given to Tatiana Monogarova for her perfect Tatiana-look and convincing acting.
Mariusz Kwiecien as Eugene Onegin rejecting Tatiana:

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

Mariusz Kwiecien: 5
Tatiana Monogarova: 3-4
Andrey Dunaev: 3-4
Anatoli Kotcherga: 5
Margarita Mamsikova: 3
Alexandre Vedernikov: 4

Overall impression: 3

DVD: Macbeth from the Met

Macbeth. Metropolitan Opera 2008, previously shown in HD theaters. Director: Adrian Noble. Cast includes: Maria Guleghina (Lady Macbeth), Zeljo Lucic (Macbeth), Dmitri Pittas (Macduff), John Relyea (Banquo). Conductor: James Levine. Further information here.

Directed by the former manager of the Royal Shakespeare Company Adrian Noble, this Macbeth is set in the 20th century against a consistently spare and dark background, with the main focus on the sexually charged relationship between the Macbeths. Which would have worked better had Maria Guleghina or Zeljko Lucic been more sexually charged performers.
While Zeljko Lucic may sing the notes, he is distinctly uncharismatic as a performer. And while Maria Guleghina still stands at the end of this enormously challenging part, she didn´t entirely convince dramatically either. However, it is not like there are dozens of highly superior Lady´s to chose from.

There are however, several superior Banquos to chose from, buth John Relyea seems to be in everything at the Met for the moment and I wonder who they are doing a favour (hint: Not really the audience). Dmitri Pittas as Macduff was fine and furthermore showed he could cry on cue.

James Levine, on the other hand generated considerable drama in the pit, reserving his endless placidity for Wagner, it seems. A great performance from him and the orchestra.

Zeljko Lucic and Maria Guleghina after murdering the King: Fatal mia donna

Posted by Macbett0 on YouTube

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

Zeljko Lucic: 3
Maria Guleghina: 3-4

The production: 3

James Levine: 4-5

Overall impression: 3-4

Thielemann Rosenkavalier with Fleming, Damrau, Koch and Kaufmann

Rosenkavalier. DVD. Baden-Baden 2009. Production: Conductor: Christian Thielemann. Cast: Renée Fleming (Marschallin), Sophie Koch (Octavian), Diana Damrau (Sophie), Franz Hawlata (Ochs), Jonas Kaufmann (A Singer).

This production has so many things going for it and yet somehow it narrowly misses the mark.
First of all, Herbert Wernicke´s production is wonderful: First seen in Salzburg 1995 and later in Paris, it is visually superfluous and sumptuous making use of a back wall of rotating mirrors. Traditional in outlook, Wernicke simply tells the story in a seemingly timeless manner.
Renée Fleming is the Marschallin. Or as I originally intended to write: Renée Fleming is Renée Fleming. There is too much Renée Fleming in her Marschallin or perhaps too little Marschallin in Renée Fleming. Word games apart, this is not among her best roles in my opinion. Somehow she seems to artificial, too mannered and not sophisticated enough in her portrait. There is a subtle balance to the Marschallin and she does not nail it. Disappointing, since I have seen her give wonderfully committed performances in this repertoire. But extra points to Ms Fleming for giving interviews in German.

Sophie Koch, somewhat miscast being too feminine in both expression and singing and with too much vibrato especially in the higher register, her weakest, where a lot of the notes are. A wonderful Charlotte is rarely a wonderful Octavian. Diana Damrau sings beautifully, but she has really moved on from Sophie. Quite a few sopranos aged below 30 could have pulled of the same in addition to portraying a young and innocent Sophie, which Damrau does not.
And Franz Hawlata, in his second Rosenkavalier DVD lacks the crudeness and (most importantly) the deep notes.

Not to forget to mention Jonas Kaufmann´s brief appearance as the tenor.

Christian Thieleman is a superb Straussian Thielemann, but he conducts Rosenkavalier as he does Die Frau Ohne Schatten: Grandious, serious, transporting. Where are the bubbliness and the walz rhythms?

Renée Fleming and Sophie Koch in Act 1:

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

Renée Fleming: 4
Sophie Koch: 3-4
Diana Damrau: 3-4
Franz Hawlata: 3

Wernicke´s staging: 5
Christian Thielemann: 4

Overall impression: 4

The Anna Netrebko show hits Copenhagen

Anna Netrebko and Massimo Giordano in Copenhagen. September 19th, 2009. Emmanuel Villaume conducts the Danish National Radio Symphony Orchestra.

As part of a minor tour, Anna Netrebko and Massimor Giordano visited Copenhagen, complete with pre-printed programme. Netrebko´s first-ever visit in Copenhagen.

The exact happenings of the concert is described in detail here, suffice to say that this was an Anna Netrebko show, in the best sense of the word. Yes, and Massimo Giordano was also there, and he made a great contribution, both with fine individual singing and as a convincing partner to Anna Netrebko. However, most people had bought their exorbitantly priced tickets expecting a solo Anna Netrebko concert as Massimo Giordani was only listed at a later point. However, these things hardly mattered as both were rather entertaining on stage, jumping in and out, Anna Netrebko trying to play the harp etc. And, being Anna Netrebko´s birthday, the orchestra played her a birthday song and champagne was opened.

On top of this, she was in fine voice as well, which seems to get bigger and bigger. No, she may not always be exactly on pitch, and no, I really am not to bothered with it, as she has a direct expression to her singing which is rather extraordinary. That said, I still do not think Lucia di Lammermoor shows her at what I imagine would be her best. Nor does the operetta excerpt. But as Tatiana (Eugene Onegin) I would imagine her to excel.

An Anna Netrebko show for the people. In the best meaning of the word.

Overall impression:

5


Program:

Gounod: Overture from Roméo et Juliette
"Va! Je t´ai pardonné... Nuit d'hyménée" from Roméo et Juliette, Netrebko/Giordano
Verdi: Overture from Nabucco
Donizetti: "Regnava nel silenzio" from Lucia di Lammermoor, Anna Netrebko
Donizetti: "Una furtiva lagrima" from "L´Elisir d´Amore", Massimo Giordano
Donizetti: "Caro elisir!" from L'Elisir d'Amore",Netrebko/Giordano

Intemission

Arditi: "Il bacio", Anna Netrebko
Tosti: "L'alba separa dalla luce l'ombra", Massimo Giordano
Tchaikovsky: "Polonaise" from Eugene Onegin
Piotr I. Tchaikovsky: "Kuda, Kuda" from Eugene Onegine, Massimo Giordano
Dvorak: "Song to the moon" from Rusalka, Anna Netrebko
Puccini: "Intermezzo" from Manon Lescaut
Puccini: "Che gelida manina" from La Bohème, Massimo Giordano
Puccini: "Si, mi chiamamo Mimi" from La Bohème, Anna Netrebko
Puccini: "O soave fanciulla" from La Bohème, Netrebko/Giordano

Extras
Franz Lehar: "Meine Lippen, sie küssen so heiss", Anna Netrebko
"Core'ngrato", Massimo Giordano
"Brindisi" from La Traviata, Anna Netrebko and Massimo Giordano

Verbier Don Giovanni with Quasthoff, Terfel, Pape

A better casting for the male leads of Don Giovanni is hard to imagine. Unfortunately the ladies did not quite live up to their male counterparts. According to himself, this was Bryn Terfel´s last performance of Don Giovanni as the Don.

Manfred Honeck conducted the Verbier Festival Orchestra for this concert performance on July 20th 2009.

Salzburg 2009: Claus Guth with Cosí fan tutte

Cosi Fan Tutte. Salzburg Festival 2009. Production: Claus Guth. Conductor: Adam Fischer with the Vienna Philharmonics. Cast: Miah Persson (Fiordiligi), Isabel Leonard (Dorabella), Topi Lehtipuu (Ferrando), Florian Boesch (Guglielmo), Bo Skovhus (Don Alfonso), Patricia Petibon (Despina)

German director Claus Guth´s Mozart-Da Ponte trilogy was concluded at the 2009 Salzburg Festival with Cosí fan tutte featuring a starry cast including Miah Persson, Bo Skovhus, Isabel Leonard as well as Patricia Petibon. Adam Fischer conducts the Vienna Philharmonics.

Those familiar with Claus Guth´s previous work such as the psychoanalytic Nozze di Figaro, the Don Giovanni set amongst junkies in a wood in the middle of the night, the Ariadne who commits suicide on Naxos, Richard Wagners Tristan in love with Mathilde Wesendonck and a Walküre set in a miniature dolls house will know better than to expect a bubbly Mozartian comedy.

We are at the end of a party at the girls rather fancy loft apartment - all in white with the occasional African mask. Bo Skovhus´ menacing Don Alfonso sets the tone immediately: This is not comedy, but rather Claus Guth shows us the personal consequences of the partner swapping resulting in four disoriented people at the end and as the action gets darker a certain recycling of the 2008 Don Giovanni forest, which progressively enter the house.

Essential to the success of this production, singer-actors are cast in all parts, with not even one weak link. The girls take centre stage and both girls look and act fabulously with a genuine interaction not always seen. The velvety sound of Isabel Leonard mixes well with Miah Perssons elegant soprano. The boys are more anonymous, but still competent. Bo Skovhus neurotic style and commanding presence is just right for Don Alfonso combined with Patricia Petibon´s in every way excellent Despina completes an outstanding cast.

Adam Fischer conducts the Vienna Philharmonics and as always we are far from the period-inspired performances some (not me though) may prefer.

Report from New York Times.

Miah Persson and Isabel Leonard "Ah, guarda sorella":

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

Miah Persson: 5
Isabel Leonard: 5
Bo Skovhus: 5
Topi Lehtipuu: 4
Florian Boesch: 4

Adam Fischer: 4
Claus Guth: 5

Overall impression: 5