I went to Zürich and I talked to director Andreas Homoki about his production of Franz Lehár’s Das Land des Lächelns. My article is in this week’s issue of VAN.
In Franz Lehár’s 1929 operetta “Das Land des Lächelns,” a Viennese lady, Lisa, loves a Chinese diplomat, Sou-Chong. She follows him back to China and marries him, only for them to ultimately be forced apart by Chinese custom. In 1929, this was a plea for tolerance by its two Jewish librettists. But today, its depiction of a cruel, exotic China gives us pause. Watching the Opernhaus Zürich’s new production, I was struck by a piece whose intentions were trapped within the limitations of its own perspective.
“It’s not a piece about China. It’s about a woman in an alien environment which draws her husband away from her,” said Andreas Homoki, who directed the production and is also the general director of the Opernhaus Zürich, in a recent interview. Compared to many directors, the genial Homoki is specific and practical when discussing his work. “It could be anything, could be Arab, could be Aboriginal, but it’s China because China was fashionable at the time.”
Read the whole thing here. I was happy to work with the editors of VAN (and their exceptionally snazzy design)!
I didn’t write the article as a review, so I would like to add here: Piotr Beczala sounded terrific as Sou-Chong, the best he’s sounded in a while and probably the best Sou-Chong since Nicolai Gedda. Julia Kleiter was stylish and fun. And the reserved Fabio Luisi was disconcertingly gleeful. I believe this is the first time I’ve ever seen his hair become disheveled, something I did not believe to be possible.
Photo copyright Toni Suter