Berlin: Fascinating production of The Magic Flute in the subway

Magic Flute in the underground- the auditorium...

The Magic Flute in the subway/Die Zauberflöte in der U-bahn. Berlin, April 27th 2008 (second performance of the run - opened April 26th)
Concept, director and conductor: Christoph Hagel. Berliner Symphoniker. Cast listed here.

Full information on the production here.

The concept for this production of the Magic Flute is fascinating: The location is the new subway station Bundestag, not scheduled for use until 2009, located in the center of Berlin next to the new Parliament (Bundestag in German). The concept apparently is evolving around the subway being the center of an expanded web/labyrinth of the city and is directed by Christoph Hagel, previously associated with similar events in Germany.

The ”auditorium” is in fact the entire railway station (see photographs below), the rail tracks on one side filled up by seats – on the other side the tracks serve as entry and exit points for the various characters. No decorations are present other than the original subway interior complete with vending machines, directories etc.

The updated and rewritten story goes as this: We are in a subway (!) in present day Germany, as indicated by the rewritten contemporary dialogue including jokes about Angela Merkel etc. but with Tamino seemingly arriving from the past. Several of the arias were re-texted as well, but I didn´t understand what they were actually singing. In brief, Pamina is apprehended by railway officer in a break during the overture and led to Sarastro (a businessman?). Papageno is a punk-type living within the subway station where the Queen of the Night (and other characters apart from the three boys, who arrive on skateboard) appear from the railway track. In the end the Queen of the Night with followers are swallowed by the railway.

Not only is the production set in a subway station, it also successfully manages to involve the subway and subterranean city life in the staging concept. One may argue whether jokes about Angela Merkel are really funny in this setting. Personally, I don´t think so, but clearly a large part of the audience thought otherwise.

The primary reason to see this is the concept and atmosphere of actually being in the subway. That said, particularly the performances of Tamino (which I belive, based on the picture in the programme, was sung by Michael Müller, but no information was available regarding which of the alternating cast we heard), Monica Garcia Albea (Pamina) and Sascha Borris (Sarastro) were good. Also well played by 30 members of the Berliner Symphoniker, located at the far end of the subway station, halfway hidden behind concrete pillars with the conductor pacing back and forth on the platform to coordinate the singing with the orchestra. All singing and dialogue was amplified, probably a necessity due to the acoustics of the place, which were expectedly not of ordinary opera house standards.

That better performances of the Magic Flute in terms of strict musical quality may be heard both in Berlin and elsewhere seem besides the point here and does not really detract from the unique concept and experience, which makes this well worth seeing.

Tips for those planning to attend any of the performances: Gallery left side tickets are located right above the rail tracks where characters are entering and exiting – it seems better to opt for the right side gallery. There is free seating in the galleries and the entrance opens approximately one hour beforehand. It is quite warm inside – no need to bring additional warm clothing.

It´s now official: Wolfgang Wagner retires from Bayreuth Festival leadership

It is now official, that Richard Wagner´s grandson Wolfgang Wagner retires as leader of the Bayreuth Festival "latest end of August" this year after more than 50 years.

Thus, Wolfgang Wagner wrote in a letter to Toni Schmid (president of the Board of the Bayreuth Festival) today. A representative of Wolfgang Wagner furthermore stated that "he does not want to block the road anymore". All involved parties (the Friends of Bayreuth, the official representatives of Bavaria etc.) seem satisfied with his decision to volunarily step down.

The Board of Directors of the Bayreuth Festival are meeting today to decide on the successor to Wolfgang Wagner. Favourites are Katharina Wagner and Eva Wagner-Pasquier (running as a team).

Wolfgang Wagner´s retirement is fixed and unconditional, but a representative states that "he is convinced that the solution with his two daughters succeeding him is the best one" and hopes it "will be confirmed by the Board of the Festival" later today.

Full story in Kurier.

This is episode 19 of the mostly opera docusoap "The Bayreuth Succession".

Previous episodes of this Wagnerian docu-soap may be read here, and for new readers the background of this unique Wagnerian docu-soap is written up here.

Berlin Don Giovanni with René Pape: My final words...

Don Giovanni, Berlin State Opera, April 25th and 27th 2008. Director: Peter Mussbach. Cast for both performances: René Pape (Don Giovanni), Annette Dasch (Donna Elvira), Anna Samuil (Donna Anna), Jeremy Ovenden (Don Ottavio), Hanno Müller-Brachmann (Leporello), Arttu Kataja (Masetto), Sylvia Schwartz (Zerlina). Conductor: Asher Fish. Further details here.

I have now attended four performances of this Peter Mussbach production of Don Giovanni at the Berlin State Opera including the first two back in December. So, until further notice, these are my final words:

While René Pape was sleepwalking his way through the performance on Friday in addition to using the first 20 minutes to warm up his voice, he was right on spot and from the beginning as well in Sunday´s performance. Otherwise, not much may be added to my previous postings on his Don Giovanni: I still find him the ideal interpreter of the Don, though clearly among the heavy interpreters, both regarding voice (he is a high bass) and presence. However, there is something strange about René Pape in this production, which he does not seem to be at ease with, a fact I strongly suspect may be attributed to Peter Mussbach´s production concept, or rather: Lack of concept, as I´ve decribed previously.

Of the remaining singers, Annette Dasch was truly grandiose. What a voice and what a dramatic presence. She seemed an entirely different singer compared to the initial performances in December, whether due to a genuine change or an initial oversight on my part is obviously not for me to say. I wouldn´t be surprised if she goes on to have a major career. She will, by the way sing Donna Anna in the new Salzburg Don Giovanni production this summer.

Jeremy Ovenden was also fine in the thankless part of Don Ottavio and the others were largely as I remembered them from December´s performances (where they varied between fine and excellent).

Obviously, many in the sold-out house, including myself, were disappointed not to have Daniel Barenboim conduct as he cancelled this run only weeks ago.
While Asher Fish, a both sympathetic and fine conductor, is no match for Barenboim in the heavy-Mozartian respect, he definitely does not serve period-style Mozart light, either.
Som may find Fish´s approach both fresh and exciting. I rather found it too fast, and furthermore Fish does tend to let the tempi carry away with him and accelerate during the fast arias and ensemble pieces, worst during the Champagne Aria - had it been much longer he would have lost René Pape (who tried not to accelerate but eventually had to) completely.

Generally most of the singers set a slower tempo than Fish, which I wish he would adjust to, but obviously that is his call. Only in Deh vieni was he forced to keep the slower tempo set by René Pape, but his eagerness to set a quicker pace was obvious.

Compared to the premiere, the April audiences were much more benign. And, one may add, probably far less critically inclined on average, since many were tourists and all around me people were deeply absorbed in the English translation of the plot summary.
My neighbour initially confused Leporello with the Don, and couldn´t understand why the Don was singing the Catalogue aria (the only piece the knew). The people sitting right behind me had trouble distinguishing Donna Anna from Donna Elvira and while admittedly not helped by the production, it doesn´t exactly reflect on an overly familiarity with the piece either.

However, for what it is worth, the atmosphere in the audience was light and for once it felt like people actually were there to be entertained.

Entertaining Berlin duo recital: Röschmann and Kozená with Barenboim

Dorothea Röschmann (soprano), Magdalena Kozená (mezzo-soprano), Daniel Barenboim (piano). Berlin State Opera. April 27th 2008.

Despite the slightly antisocial scheduling of this recital at 11 am on a Sunday with the most superb weather seen as of yet this year, the Berlin State Opera was sold out for this duo recital of 19th century songs.

The concert was divided in two, with each half consisting of two duo sections and one solo section (programme listed below).

And I can report that both ladies both looked and sang superbly with Magdalena Kozená looking at least 7 months pregnant.

Magdalena Kozená represents the exquisite and delicately elegant singing style combining a perfectly controlled voice over the entire range with sensitive phrasing and immense varieties in word colouring. For her solo section, she unfortunately chose a selection of songs by Duparc, where she, in my opinion, fell short in terms of expressive power, though nevertheless exquisitely sung. Not surprisingly these songs are also commonly performed by Karita Mattila, having the sort of voice I´d find optimally suited to Duparc´s expressivity.

Dorothea Röschmann represents a more expressive singing style, with storytelling and declamation her first priority, not always opting for the beautiful sound, although she indeed has a beautiful voice. Her solo section consisted of songs by Wolf, performed with plenty of character and humour.

Their voices blended eloquently together, again with Dorothea Röschmann emerging the characterful and Magdelena Kozena the elegant, though with a tendency of Dorothea Röschmann to vocally overpower Magdelena Kozena. Both visibly enjoyed themselves, and in general the atmosphere of the entire recital was joyful, with the artists receiving far more applause than usual in Berlin (I suppose most of the audience were foreigners as well).

Accompanist was Daniel Barenboim, of whom can be said that he played exquisitely and with grace, never drawing attention to himself but providing a solid platform for the two ladies to shine. Furthermore he looked in very good health indeed (for those speculating on the reasons behind his cancellation of the current run of Don Giovanni performances, one of which is indeed scheduled later this afternoon).

Recital programme:

MENDELSSOHN-BARTHOLDY (duets)
Ich wollt´, meine Lieb
Abschiedslied der Zugvögel
GrußHerbstlied
Maiglöckchen und die Blümelein

HUGO WOLF (Dorothea Röschmann)
Nimmersatte Liebe
An eine Äolsharfe
Erstes Liebeslied eines Mädchens
Denk es o Seele
Im Frühling
Gesang Weylas
Begegnung

JOHANNES BRAHMS (duets)
Die Schwestern
Es ging ein Maidlein
Phänomen
Och Mod’r, ich well en Ding han
Weg der Liebe

Intermission

CAMILLE SAINT-SAËNS (duet)
Pastorale

CHARLES GOUNOD (duet)
D’un coeur qui t’aime

GABRIEL FAURÉ (duet)
Puisqu’ici-bas toute âme
Tarentelle

HENRI DUPARC (Magdalena Kozená)
L’Invitation au Voyage
Extase
Chanson triste
Phidylé

ANTONÍN DVORÁK (duets)

V dobrým sme se sešli
Holub na javore
Zajatá
Zelenaj se, zelenaj
Prsten

Pierre Boulez - on audiences, composing in Bayreuth and generating controversy

[Pierre Boulez] says little has changed in the music world since he started out, in that "20% are very interested in new things, 50% can be persuaded and 30% are in their coffins before their time."

Excerpts from a fascinating interview with Pierre Boulez in today´s Guardian.

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.

Ken Russell´s Faust on DVD

Faust. Vienna State Opera 1985. Production: Ken Russell. Cast: Francisco Araiza (Faust), Ruggero Raimondi (Mephistopheles), Gabriela Benackova (Marguerite). Conductor: Erich Binder. More information here

This is British film director Ken Russell´s staging of Faust from the Vienna State Opera dated 1985. Apparently, the production was judged controversial at the time, despite it being in essence a traditional staging in both conception and presentation. The controversy mainly related to Russell´s departure from the libretto on the following main points: Making Marguerite a nun, and focusing on her punishment (showing a guillotine at the end of the opera) instead of her redemption.

The sets are largely realistic, opening with the old Faust in his study, receiving the dead body of a young woman, whom he unsuccessfully tries to revive. Towards the end of the opera, Faust is back in the study, this time in front of Marguerite´s casket. Mephistopheles appears in a puff of smoke, and apart from parts of the action revolving around nuns and priests, the story is told pretty straight-forward.

Though I am undecided on the idea of Marguerite as a nun (does this really add realism to the Faust-Marguerite love story, as Ken Russell claims in the booklet notes? - I would tend to say no), Ken Russell´s symbolism, in my opinion, adds spice to the story, and it is entertaining viewing indeed, despite the occasional dark sets. Not too surprisingly, the production has a distinct filmic quality, which suits the work well.

Unfortunately, the Walpurgis night scene is excluded as it has some of my favourite music (as was also the case in the recent MET production).

The singers range from fine to excellent, with the deservedly biggest applause to Ruggero Raimondi as Mephistopheles: He is in superb voice as well as elegant and funny.

Also fine performances from Francisco Araiza and Gabriela Benackova. The State Opera orchestra is conducted by Erich Binder in a fine performance, though a bit more intensity wouldn´t do any harm to the work.

This production was replaced by a new production by Joël autumn 2008 at the Vienna State Opera.

While waiting for the ideal Faust to appear on DVD, this one may not be a bad option.

The final scene (Benackova, Raimondi and Araiza):

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

Francisco Araiza: 4
Gabriela Benackova: 4
Ruggero Raimondi: 5

Ken Russell´s staging: 4

Erich Binder: 4

Overall impression: 4

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

Oslo Opera Opening Gala: René Pape with Ella giammai m´amo

From the April 12th opening gala at the new Oslo Opera House - René Pape with Ella giammai m´amo:

Originally posted by operaduets on youtube.