Paris: Tcherniakov with Macbeth on DVD

Macbeth, Paris Opera Bastille 2009. DVD Production: Tcherniakov. Conductur: Teodor Currentzis. Cast: Dmitri Tiliakos (Macbeth), Violeta Urmana (Lady M), Ferruccio Furlanetto (Banquo), Stefano Secco (Macduff).

Beginning each scene with areal photoshots from google-earth, slowly zooming in on a village, to end by showing us the individual house where the following scene will take place, Dmitri Tcherniakov effectively sets the scene for this Macbeth, shown at the Paris Bastille Opera in 2009.

We see a small town run by gang of mobsters. We have the upper class, the mob, the middle class and then the people. Macbeth and Lady Macbeth belong to the middle-class, but no-one is clear cut.

The central element to Dmitri Tcherniakov Who are the witches? He answered with a: They are everyone. They are, The people, one of Tcherniakov´s main interests as a director. The people becomes a growing influence in the opera, from the initial killing of the mobster Banquo, to the smashing of Macbeth´s house and the burning of the city. The people have come to power.

It is both intelligent and very innovative.

There is one draw-back however: The singers. Mainly Dmitri Tiliakos, who starts out disastrously wobbly, however improves eventually, though without completely loosing the wobble.
Violeta Urmana, not known for her acting skills, here shows that with a good director, she can act like a movie star. Her portrayal of the insecure, desperate Lady is very touching. However, vocally she is too heavy, and has too much trouble in the high register. She may call herself a soprano now, and she may take on soprano roles, but essentially her voice-type is still a mezzo-soprano.

Ferruccio Furlanetto in leather jacket convinces as mobster, as does Stefano Secco as an ordinary man of the people.

This was a co-production with Novosibirsk Opera, where Currentzis is musical director, which probably explains his presence in the pit, but he nevertheless does well.

Trailer:

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



Dmitri Tiliakos: 3
Violeta Urmana: 3
Ferruccio Furlanetto: 3-4
Stefano Secco: 3


Dmitri Tcherniakov: 5


Teodor Currentzis: 3

Overall impression: 4

DVD Kusej Amsterdam Flying Dutchman

Der fliegende Holländer. DVD. Nederlanse Opera 2010. Production: Martin Kusej, Conductor: Hartmut Haenchen with Netherlands Philharmonic Orchestra. Cast: Juha Uusitalo (Dutchman), Catherine Naglestad (Senta), Robert Lloyed (Daland), Marco Jentzsch (Erik), Marina Prudenskaja (Mary).

A group of tourists are stranded. Behind them , and set of double glass doors, the swimming pool of the hotel is visible. The sleek tour guide (Daland) muses around, trying to find a solution, which arrives with the Dutchman´s bag of Euros. Who are the black-hooded people behind the glass doors? Criminals? Escaped members from the Dutchman´s crew, we later find out. At that point, an unusually resourceful Erik has already killed some of them. What are they really? An allegory of illegal immigrants in Europe as alluded by some? Or just a gang of criminals?

Senta is completely detached from reality, sitting alone by an old spinning-wheel as the only one amidst modern women hanging a swimming pool including a posh Mary in silver cocktail dress. That Catherine Naglestad´s Senta is rather mature seem fittingly here - she has been living outside reality for a long time.

Late, in Act 3, the stage is switched around, now we are among the black-clad, looking at the swimming-pool party.

The relationship between Erik, Senta and the Dutchman is at the centre of this staging, with focus  on Erik. Eventually he doesn´t accept the relation between Senta and the Dutchman and ends by shooting (and killing) both the Dutchman and Senta. Redemption? Not Martin Kusej´s style.

Hitting more often than missing, this is nevertheless not one of Martin Kusej´s best stagings (on DVD, look for Lady Macbeth from Mtsensk or Rusalka) as he lacks a certain clarity of conception.

Catherine Naglestad has both charisma, and heft, and gets better and better. Her vocal strong point is her high register, though if your reference is Leonie Rysanek, she will eventually fall short. Without being exceptional, slightly too wobbly and not too high on the charisma scale, Juha Uusitalo is nevertheless a better Dutchman than Wotan,.

Robert Lloyd (born 1940), thus 70 years at the time of the performance, was more than adequately challenged as Daland, while Marco Jentzch convinced as Erik.

Swift and transporting reading from Hartmut Haenchen.

Unfortunately, important recent productions such as Peter Konwitschny´s in Munich are not (yet?) available on DVD. and generally, the Dutchman competition on DVD is not overwhelming. Though old-fashioned by todays standards, Harry Kupfer´s 1978 Bayreuth production may still be the choice for many.
 
Production trailer:

 
The bottom line (scale of 1-5, 3=average):
 
Juha Uusitalo: 3
Catherine Naglestad: 4
Robert Lloyd: 2
Marco Jentzch: 3
Hartmut Haenchen: 4
Martin Kusej´s staging: 3-4
Overall impression: 4

Baden-Baden Lehnhoff Tannhäuser with Waltraud Meier, Stephen Milling, Philippe Jordan

Tannhäuser. DVD. Festspielhaus Baden-Baden 2008. Deutsches Symphonie-Orchester Berlin conducted by Philippe Jordan. Nikolaus Lehnhoff (Director). With Robert Gambill (T), Camilla Nylund (E), Waltraud Meier (V), Stephen Milling (G), Roman Trekel (W).

Baden-Baden, a bit further south-east from Bayreuth was one of the locations, Richard Wagner initially considered for his Festival House, and the Wagner performances here has recently tended to outshine those of the proper Bayreuth Festival. The year of 2008 was no exception, at least regarding the ability to attract top singers.

Audiences here have gotten used to Nikolaus Lehnhoff, having already staged Lohengrin and Parsifal here in previous years. And in comparison, he seems to have run out of ideas for this Tannhäuser.

A spiral staircase appears throughout the semi-abstract sets where the period-styled actors appears. Aesthetic as always with Lehnhoff, but is there a deeper meaning. Knowing Lehnhoffs work, the answer most probably is yes, however I didn´t manage to find out what it was.

While Robert Gambill looks reasonable, they days where he could actually sing Tannhäuser are long gone.
Camilla Nylund´s Elisabeth verges on the too mature and though she looks the part I wonder if she really moved the audience. Though Venus, with the sumptuous singing really is not among the best parts for Waltraud Meier from a vocal part of view, no-one looks and acts the part better as she does, thus it is no surprise that this is the second Tannhäuser DVD with her participation.
Stephen Milling in a Landgraf his prime and however golden Roman Trekel is dressed up cannot hide the fact that his voice does not have the innigkeit and beauty of a really good Wolfran.

Philippe Jordan was swift and effective, though perhaps not transporting.

Apart from Rokoko-Meier, a relatively static affair. Admittedly, Tannhäuser is not an easy work to pull off and the ideal DVD is not yet on the market.

However, for those inclined to watch traditional productions, the Metropolitan Opera Tannhäuser is probably the best of Otto Schenk´s Wagner stagings.

Trailer:

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


Robert Gambill: 2
Waltraud Meier: 4-5
Camilla Nylund: 3-4
Roman Trekel: 2
Stephen Milling: 5


Lehnhoffs staging: 3
Philippe Jordan: 4


Overall impression: 4

Claus Guth with Messiah

Messiah. DVD. Theater an der Wien 2009. Director: Claus Guth. Cast: Susan Gritton, Cornelia Horak (sop), Bejun Mehta (alto), Richard Croft (t), Florian Boesch (bas). Arnold Schönberg Choir. Jean-Christoph Spinosi conducts Ensemble Matheus.

Claus Guth on Messiah: "What are emotional stages that prompt us to ask ourselves questions about God? Burial, unfaithfulness, abandonment, life crisis."

In his 2009 staging of Händel´s Messiah, these are more and less the life crises he takes us through via the circular stage. Centrally stands the funeral of a man. A businessman. This man, we learn, was cheated on by his wife with his brother?/ his friend? around the time of the baptism of his child, which, together with a failed business presentation leads him on the road to suicide.
Physically, we are inside a hotel/office building with many doors leading to and from places we know nothing us. And, not uncommonly for Claus Guth, he adds a couple of non-singing characters - a business man and an angel?/hotelmaid?, which adds to create an almost trandescending impression.

Claus Guths narrative is compelling, the themes are the eternal: Guilt, fear, rejection, loneliness love.

A genuine ensemble piece, non mentioned, non forgotten. All acted, sang and played with committment. For those interested in a staged version of Messiah, Claus Guths version is not to be missed.

The trumpet shall sound:

Overall impression: 5

DVD: Copenhagen Tannhäuser

DVD. Tannhäuser. 2010. Prod: Kasper Holten, cond: Friedemann Layer with the Royal Danish Orchestra. Cast: Stig Andersen (Tannhäuser), Tina Kiberg (Elisabeth), Susanne Resmark (Venus), Tommi Hakala (Wolfram), Stephen Milling (Landgraf).

The Royal Danish Opera had the choice between releasing Konwitschny´s unforgettable production of Elektra and this present Tannhäuser on DVD. For reasons unbeknownst to me, they chose then opera intendant Kasper Holten´s production of Tannhäuser.

Admittedly, the production received rave reviews in  the Danish press, which immediately puts me in the minority as I immensely disliked the production when seeing it in the theater. Also, I had trouble understanding it. Now, I am better prepared, having read bunches of review as well as the thoughts of the production team, which is still more interesting than actually watching the show, that is: The DVD.

Kasper Holten has creasted a Tannhäuser centered around the artists conflict of creation. It could be Richard Wagner, we see, but it is not necessarily so. This Tannhäuser is married to Elisabeth, has a child and is split between family and the process of creastion, personifized by Venus.
He struggles for recognition, but achieves this only after his own death, predeceded by the suicide of Elisabeth. "Zur erinnerung am Tannhäuser, der grossen poet und singer" we see at the end.
Much of Venus´ world is literally turned upside-down, to emphasize the contrast to Tannhäusers daily routines, and Venus lurks around, present in most scenes.

Kasper Holtens staging,  clearly gains from being revisited on DVD and the  unconventional closed-up filming in various angles added some (at times much-needed) dynamics to the piece.

Tina Kibergs voice has deteriorated significantly the past 10 years and is simply not pleasant to listen to anymore, though her committed acting makes somewhat (but not entirely) up for it. Susanne Resmark, a large woman one would not immediately associated with Venus, makes the most of what she got with a commanding stage presence and a willingness to expose herself competely if it serves the role. Many, who saw the Copenhagen Ring still remember her Siegfried-Erda, where she stripped down to a nightdress in a retirement home. Also as Venus, she is compelling and vocally strong.

Stephen Milling, in his second Landgraf-DVD is impressive, whereas Tommi Hakala, a Cardiff Singer of the World winner in 2003, is more anonymous.

And Stig Andersen himself, now 60 years old, generally ages well vocally, and makes a considerably better effort than most of his colleagues on the major stages.

Friedemann Layer, a favourite of the Royal Danish Orchestra, conducts lucidly and fluently.

Is it THE Tannhäuser to own? It could be, depending on preferences. The ultimately traditional Tannhäuser is the one from The Met, alternatively are David Alden´s Munich production or the newer Lehnhoff staging from Baden-Baden.


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

Stig Andersen: 4
Tina Kiberg: 2
Susanne Resmark: 3
Tommi Hakala: 3
Stephen Milling: 4

Kasper Holten: 3-4
Friedemann Layer: 4

Overall impression: 3-4

Another Nadja Michael Salome DVD

Salome. DVD. 2007 La Scala, Milano. Prod: Luc Bondy. Cond: Daniel Harding. Cast: Nadja Michael (Salome), Falk Struckmann (Jochanaan), Iris Vermillion (Herodias), Peter Bronder (Herodes).

For unexplicable reasons (actually, not really, her looks explain it) Nadja Michael now appears on two Salome DVDs, the other being the 2008 McVicar production at the London Royal Opera.

Nadja Michael is the exact type of opera singer, I´d love to give a raving review and in theory see in everything: She looks more than great, she has a body to die for (a former competitive swimmer in the former East Germany), she is agile on stage, she is a great actress. And before she switched fach from mezzo to soprano, she was in fact also a good singer. I still remember her Brangäne in Carnegie Hall around 2000.
However, these days are long gone indeed. Looks apart, Nadja Michael simply cannot sing anymore, not to speak of the part of Salome, with the fiendishly high tessitura way way above her comfort zone. Furthermore, her vibrato has become excessive, the sum being a distinctly ugly sound.
Apparently many disagree, since she has made something of a career with the part, singing it both at the London Royal Opera, San Francisco and on this current La Scala production.

The rest of the cast is relatively good, Falk Struckmann effective as Jochanaan, though also he past his prime and Iris Vermillion an attractive Herodias.

It is also the second time we see this Luc Bondy production on DVD, the first time with Catherine Malfitano and Bryn Terfel from London, as usual, plays with shades of light in an otherwise eventless slash Victorian style thriller staging.

However, a Salome without a Salome, no matter the qualities of the other production elements, simply does not work.

Trailer:

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


Nadja Michael: 2
Falk Struckmann: 3
Iris Vermillion: 4
Peter Bronder: 3


Bondy´s staging: 3
Daniel Harding: 3


Overall impression: 2

Mozarts best opera - vote

In celebration of Mozarts 255th birthday:





I dare assume, few will choose an opera not listed above.

David McVicar

DAVID MCVICAR

Scottish. Born 1966. Studied acting initially graduating from Royal Scottish Academy of Music and Drama. Detailed biographical information here.

Directorial approach:
Multilayered productions, often surprisingly traditional in the outlook, with opulent costumes (McVicars favourite period is the 18th Century) but come with a nasty twist. Reknowned for his direction of the singers. The relatively conventional appearance of his stagings make him "suitable" even for major houses with a preponderance towards traditional productions, such as Metropolitan Opera in New York.

Notable achievements in opera:
Breakthrough with Handel´s Giulio Cesare in Glyndebourne 2005 and he remains blosely associated with Glyndebourne Festival, where he directed Wagner´s Meistersinger in 2011. However, most closely he seems to be associated with the Royal Opera House (London), where he has staged (among others) Magic Flute, Rigoletto, Faust, Nozze di Figaro, Salome, Aida, Adriana Lecouvreur and Les Troyens. His Metropolitan Opera debut took place in 2009 with Il Trovatore and in 2013 he directe Maria Stuarda there. David McVicar staged the Nibelungen Ring 2010-12 in Strassbourg and his works may be seen in most major opera houses, Rarely in Germany, though as he expains below:

"No, it's horrible. And institutionalised. You have to fight against ineptitude, and arrogance, and stupidity." when asked about working in Germany

"I am good at what I do because I care so terribly much, and I do put so much into it, so much energy and so much love!.

Current and future productions: Full calendar of present and future productions.

DAVID MCVICAR - SELECTED PRODUCTIONS

Interview with David McVicar related to Giulio Cesare in Glyndebourne 2005, probably his international break-through:

Nozze di Figaro, Royal Opera House 2006 - one of the finest versions on DVD:

 Documentary of the making of Meistersinger in Glyndebourne 2011:

DAVID MCVICAR ON DVD

Rigoletto, London Royal Opera House 2001

Carmen, Glyndebourne 2002

Magic Flute, London Royal Opera House 2003

Faust, London Royal Opera House 2004

Giulio Cesare, Glyndebourne 2005

Nozze di Figaro, London Royal Opera House, 2006

Manon, Liceu Barcelona 2007

Salome, London Royal Opera House 2008
Adriana Lecouvreur, London Royal Opera House 2010
Die Meistersinger, Glyndebourne 2011

Il Trovatore, Metropolitan Opera 2011

Tales of Hoffmann, Salzburg Festival 2003 (not released. Yet?)

MCVICAR - LIVE PERFORMANCES REVIEWED BY MOSTLY OPERA

L´coronazione di Poppea, Copenhagen Royal Opera 2007

MCVICAR - LINKS

David McVicar on wikipedia

Current and future productions by David McVicar

All posts on mostly opera related to David McVicar

Munich Don Carlo with Kaufmann, Harteros, Pape

Don Carlo. Bayerische Staatoper, January 22 2011 LIVESTREAMING. Prod: Jürgen Rose. Cond: Asher Fish. Cast: René Pape (Filippo), Jonas Kaufmann (Don C), Anja Harteros (Elisabetta), Anna Smirnova (Eboli), Daniel Boaz (Posa), Eric Halfvarson (Inquisitor).

• According to the opera house about 459.000 people watched the free online-streaming, which worked perfect in my region (Scandinavia).
• Jürgen Roses semi-abstract and dark production serves the opera well, though in some scenes I´d wish for a torch to be able to see exactly what was going on.
• In my opinion the 5-act version is too long and it serves the work to cut the Fontainebleau scene, both dramatically and musically - Jonas Kaufmann (as seen in the intermission interview) unsurprisingly does not agree.
• Jonas Kaufmann is probably the most convincing Don Carlo on stage since Plácido Domingo, italianitá or not.
• For once Carlo a believable alternative to René Pape´s King Filippo, of which everything has been said previously on this blog on more than one occasion.
• This version includes the wonderful lacrymosa, later to be incorporated in the Requiem, sung by Filippo after Posa´s death.
• Most regal of the cast was Anja Harteros in both appearance and with a wonderful bloom to her singing. Though I can fault her nothing, and many may feel she lacks nothing at all, I miss an emotional connection with her. Marina Poplavskaya provides this, but vocally she is not at Harteros´ level.
• A better lead trio may not be seen today.
• Daniel Boaz did his best as a late substitute for Mariusz Kwiecien, though I´d have preferred the latter.
• Anna Smirnova has heft but not much else as Eboli.
• A Grand Inquisitor in his prime would be great for a change.
• This performance will not be released on DVD (according to Munich Intendant).
• Asher Fisher was good, has vastly improved (or learned) from his years in Berlin with Daniel Barenboim.

Paris Forza del Destino

La forza del destino. Paris Bastille Opera, November 28 2011. Production: Jean-Claude Auvray. Conductor: Philippe Jordan. Cast: Violeta Urmana (L), Marcelo Alvarez (Alvaro), Vladimir Stoyanov (Don C), Nadia Krasteva (Preziosilla), Kwangchoul Yun (Padre Guardiano), Nicola Alaimo (Fra Melitone)

In summary, the Bastille Opera has presented  us with and entirely unconvincing staging of Verdis La force du destin, both dramatically and vocally a major disappointment.

To begin with the staging, Auvray transposes the plot to the 19th Century and to a stage with occasional backdrops of paintings being the only decorations in the very dark and naked sets. Not an unreasonable approach, as such, however, with austere sets like, much relies on the singers ability to convince dramatically.

Vocally, Violeta Urmana, a former mezzo-soprano, is simply too heavy, with a strained top without bloom and spirit. Marcelo Alvarez, whose acting skills are never above the mediocre, here falls considerably below mediocre, with stand-and-deliver acting, and dispirited vocal delivery (though he does hit the notes relatively unstrained). While it may have worked (to a certain extent) for Pavarotti, vraiment, ca ne suffit franchement pas monsieur Alvarez.
Vladimir Stoyanov was simply monotonous and uninteresting, Nadia Krasteva was rough-voiced and unsophisticated. The only cast member infusing a bit of life into this production was Nicola Alaimo as Fra Melitone.
The biggest applause, deservedly went to conductor Philippe Jordan, though to lift this dead-weight production would be beyond the means of any conductor.

The production clearly benefited from being transferred to television, but in the auditorium it was dismal evening, that never seemed to end.

L´Opera de Bastille peut et doit mieux faire. Bonne nuit a tous.

The final scene:

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

Violeta Urmana: 2
Marcelo Alvarez: 3
Vladimir Stoyanov: 2

Production (Auvray): 2
Philippe Jordan: 4

Overall impression: 2