Review

Petrenko and the lyric Symphoniker

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Kirill Petrenko and the Wiener Symphoniker brought an unusual program to the Musikverein this week: Zemlinsky’s Lyrische Symphonie, Liadov’s The Enchanted Lake, and Scriabin’s Le poème de l’extase. I wish I could have written about this sooner, because there were a disappointing amount of empty seats at Wednesday’s first of three concerts and it was really worth hearing. The Lyrische Symphonie can be easily described as a Das Lied von der Erde rip-off, and as a series of lush orchestral songs for two alternating vocal soloists set to Asian poetry, there are obvious similarities. However, Zemlinsky’s musical language is quite different, and so are his poems’ themes. Petrenko and the Symphoniker’s account was monumental and dramatic.

The first movement was gloriously un-transparent, not dissected as much as a thick, ever-shifting carpet of sound. After hearing many technically overworked and clinical performances recently, it was a lovely change to hear the whole orchestra together instead of eliciting reactions such as “oh, hi, oboe section!” The soloists were excellent and carefully traced the work’s journey for youth to love to loss, but Petrenko’s focus was more on the orchestra than on them. Baritone Wolfgang Koch sounded somewhat flat and detached in the first movement, but warmed up to an imposing, passionate delivery in the other movements. Suddenly ubiquitous soprano Camilla Nylund was much better suited to this work than she had been to Rosalinde or Salome, her silvery sound projecting perfectly but never losing its freshness. Her “Sprich zu mir, Geliebter” was beautifully floated.

This was a very smartly put-together program. Anatoly Liadov’s brief, quiet tone poem The Enchanted Lake is another shimmering atmosphere piece, but one of greater delicacy, recalling a Russian Debussy. It served as a good introduction to Scriabin’s heady Poème de l’extase, whose chaotic structure and kaleidoscope of themes was, like the Zemlinsky, a dazzling exercise in orchestral color and balance. And, at the end, we heard how very, very loud an orchestra of this size can be. But it never felt gratuitous.

The concert was hindered by some spectacularly ill-timed coughing, and was met with a disappointingly lukewarm reception. I thought it was unusual and glorious.

Wiener Symphoniker, Kirill Petrenko, conductor. Musikverein, 2/23/2011. With Camilla Nylund, soprano and Wolfgang Koch, baritone. Program: Zemlinsky, Lyrische Symphonie, op. 18; Liadov (Lyadov/Ljadow), The Enchanted Lake, op. 62; Scriabin (Skrjabin), Le Poème de l’extase, op. 54.

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Review

The Philharmoniker’s Mahler 6: More cowbell

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The Philharmoniker is on tour this month with Semyon Bychkov, but before they departed, the sexist bastards are allowing us in Vienna a preview of their three programs in four concerts. This represents the sum total of their performances in the city this month. This is rather typical (unles you count the Staatsoper, which you shouldn’t). Three different programs is actually generous, comparatively speaking.

Mahler’s Symphony No. 6, the “Tragic,” is just about as imposing as No. 9, which I heard Dudamel and the LA Philharmonic give a few weeks ago. Unfortunately I felt that this performance was also lacking something, though I can’t quite put my finger on what. Maybe these are more my usual problems navigating Mahler’s unwieldy forms than the orchestra’s. It was extraordinarily accomplished on a technical level, with faultlessly clear textures and ensemble, opulent tone, and, with the exception of some overloud brass, barely a note out of place or balance. For those of you who collect critical editions, the scherzo preceded the andante but there were only two hammer blows.

I liked the restrained opening, and Bychkov and the orchestra never resorted to excess. However, I wonder if they perhaps should have–this is Mahler, after all.  Some odd tempos and an oddly episodic feeling made the entire performance never really pay off.  There were lovely moments: beautiful chamber playing in the winds in the first movement, that otherworldly strings/percussion passage, and particularly the opening of the third movement, which had a gorgeous gentleness. But the second movement lacked a certain element of caricature, and the lengthy last movement, until the exciting coda, again felt disconnected. In 90 minutes, you’d think it would add up to something.

Also, I couldn’t see the hammer due to a column. This was very disappointing. Is the Philharmoniker still using the Ur-Mahler Hammer? I think there is a good chance they are.

Wiener Philharmoniker, Semyon Bychkov, conductor. Musikverein, 2/2011. Program: Mahler, Symphony No. 6, “Tragic.”

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Review

Figaro’s prenup at the Wiener Staatsoper

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At least they didn’t have it on Valentine’s Day. Unless you’re Cherubino, you would have been disappointed. There are few operas that offer a more comprehensive overview of the intersection of love, sex, and class than Le nozze di Figaro, but Jean-Louis Martinoty’s “new”* Wiener Staatsoper production irons out this complex into a rush of pure teenage hormones. Everyone gets some, but what it means, I don’t know. Most of the music isn’t anything to remember either. How can Mozart be so boring? Let us investigate.

*First seen at the Théatre des Champs-Elysées, 2003. [Insert offensive cliché about French people and sex here.]

Mozart, Le nozze di Figaro. Wiener Staatsoper, 2/16/2011. New production premiere by Jean-Louis Martinoty with sets by Hans Schavernoch, costumes by Sylvie de Segonzac, lights by Fabrice Kebour. Conducted by Franz Welser-Möst with Luca Pisaroni (Figaro), Sylvia Schwartz (Susannah), Erwin Schrott (Count), Dorothea Röschmann (Countess), Anna Bonitatibus (Cherubino), Daniela Fally (Barbarina), Sorin Coliban (Don Bartolo).

After his fiasco of a Don Giovanni, director Jean-Louis Martinoty is back and not very welcome this time (there were many resounding boos at his curtain call). Like the Don, his Figaro aspires to detailed Personenregie but its overall effect is consistently blunted by his failure to conceive of characters or concepts beyond the level of small-scale gestures. It’s superficial interpretation that is happy to take Barbiere or La mère coupable into account, but won’t actually answer any important questions about what Figaro is about, and declines to approach its more serious themes. There are many trees, but there is no forest. There are notes, but no phrases. On the whole, it is a little better than the Don, because it is less ambitious–there are no random time-traveling missions–but what’s there is profoundly uninspiring and amazingly dull. Watch, this is my favorite opera, I’m about to get really really offended. Because I think this direction of this production is borderline-incompetent, certainly not worthy of a major opera house.

The stage is raked with the twisted proscenium arches familiar from Don Giovanni. The only explanation I can formulate of the set is that Martinoty had set designer Hans Schavernoch’s plans sitting on his desk next to the book of inspirational paintings sent by his dramaturg, and sent the latter to the shop by mistake. Each setting is a different background collage of vaguely relevant artwork of various sizes. We get lots of animal parts in Act 1 (hunting for something? trophies?), ladies’ desk objects and the lower half of a huge crucifix in Acts 2 and 3, and giant wheels of cheese at the start of Act 4. (I got really hungry at this point! Because, cheese. While all the characters were also busy being hungry. Hungry for LOVE.) Later, obviously we got paintings of flowers. Furniture is sparse and augmented by some out-of-period cushions, which jar with the rest of the design. Also, the Count keeps a skull on his desk, sitting on top of a large tortoise. Don’t ask me, I just watched the thing.

The paintings don’t do anything for the drama except distract, their symbolism alternating between too obtuse to do anything and too obvious to do anything. Oh, they cause acoustic problems, there’s that. The lighting by Fabrice Kebour is better than that of Don Giovanni, with fewer random changes. But it is still fussily complicated and leaves key spots of the stage too dark to make out the action at times, even in Acts 1 and 2.

The one uniform theme of the production is the juvenile quality, straight from the model of Slutty 18th Century. The costumes (by Sylvie de Segonzac) are plain, non-extravagant period jobs, but heavy on the cleavage, and everyone feels everyone else up indiscriminately. This makes differences in class, age and status disappear, as does the generally casual atmosphere of the action. I don’t think Figaro and Susannah’s relationship is the same as Cherubino and Barbarina’s, and certainly not as the Count and Countess’s or the Countess and Cherubino’s (which is here very touchy-feely, safe to say that Martinoty read a summary of La mère coupable), but here they all act basically the same way. It cheapens the importance Susannah and Figaro put on foiling the Count’s plan, AKA the key plot conflict of the whole opera. It’s just not interesting, and also not at all sexy. A little innuendo would have gone a lot further than this much groping.

The staging of “Deh vieni, non tardar” annoyed me in particular. Susannah begins it from upstage, behind one of the paintings (which are scrims in this act, here lit to be translucent) while the Countess mimes it for Figaro’s benefit. Conventionally, Figaro doesn’t see Susannah in this number, so he doesn’t wonder why she is wearing the Countess’s dress. Here, he is given the Countess in Susannah’s dress to look at. Obviously, Martinoty is thinking of another “Deh vieni,” Don Giovanni’s serenade mimed by Leporello. But Susannah is a much more honest character than the Don, and with this intermediary of the Countess, she never gets her personal moment of glory, and we never get that moment of genuine affection. It also fails to emphasize that Figaro recognizes Susannah by the sound of her voice, as is important later in the act. What do we gain? Nothing, so far as I can tell.

He is content to tinker in this way. I do not object to any of his ideas because they depart from convention, rather because due to a lack of a guiding theme they do more to confuse than advance the narrative. And, since this small-scale busy handwork is the most substantive thing in the production, I think it’s worth examining it closely to see if it holds up to scrutiny. Here’s another example. Like in the DVD of this production, the Act 1 unveiling of Cherubino is oddly complicated. Cherubino surreptitiously moves from the covered chair into a chest but leaves his boots sitting in front of the chair, and when the Count unveils the chair, apparently here not just describing the moment but seeing the boots and thinking that Cherubino is there, he then takes off the cloth and is surprised not that Cherubino is there as usual but rather is surprised that he is not there. Cherubino emerges from the chest shortly afterwards. But it’s the surprising collapse of the Count’s story and the actual presence of Cherubino that makes the moment work (I remember Simon Keenlyside as the Count doing a priceless double take upon seeing Cherubino at this point), and here one of the best revelations in opera is destroyed.

For the most part, Martinoty plays by the book. But, in what I suspect in an attempt to look casual, much of the comedy ends up too imprecisely timed to be funny (have you ever seen Susannah’s “senti questa” fail to get a laugh? welcome to this production). The biggest laugh was stuttering Don Curzio, which is not a good sign. Serious moments are also fluffed: “Contessa perdono” is sung by the Count staring straight out at the audience, not looking at the Countess at all, as the set opens up to a heavenly blue sky. This leads to a confusing final image that suggest the Countess might actually prefer Figaro over her husband, which would be interesting if it had been pursued anywhere else in the staging, but as far as I could tell it wasn’t. (Who’s betting Martinoty was thinking of “Dunque son” from Barbiere? He loves talking about these connections in interviews.)

Franz Welser-Möst’s conducting was OK.  In the recap of the overture there were some surprising coordination issues between the various sides of the string section, and some stage-pit problems in Act 1 (particularly in Bartolo’s aria), which improved over the course of the evening. Generally things worked fairly effectively. But I wish he had taken command a little more, it was a little slack and more routine than brilliant, and some tempos were in my HIP-oriented mind lacking in verve. My HIP self greatly appreciated the presence of tasteful ornamentation in “Dove sono” and “Deh, vieni,” however. Recitative tilted heavily towards speaking, however I’m OK with this. I could do without the smartass continuo quoting bits of Marcellina’s Barbiere aria on her entrance. We get it.

The cast was not bad, but the overall level was disappointing and failed to catch fire somehow. Luca Pisaroni is a charming Figaro with a light, somewhat generic but technically secure voice, but didn’t really have the stature to command the evening (except in the literal sense, he is very tall), and neither did anyone else.

Dorothea Röschmann’s voice has darkened and lost some control and flexibility in the last few years, and her high notes can turn shrill, but she remains a elegant singer. As the Countess, she was the most glamorous voice onstage by a long shot. Unfortunately, the childish interpretation of the Countess prescribed by the production (including breaking her china at the opening of Act 2) didn’t seem to fit her personality, and while her flirtiness was sometimes charming, she lacked emotional depth. Her “Dove sono,” honest, involved that skull on the Count’s desk. At the end, she crossed center stage and planted herself with the steely determination of a Konstanze about to speed up at the end of “Marten aller Arten,” which did not feel right somehow. But she provided the best singing of the evening.

Erwin Schrott was making his role debut as the Count, and I think eventually he will be fine in the role. His voice is lower-pitched than most Counts’, but while the high parts didn’t exactly open out, the lower sections, of which there are many, sounded more solid than usual. The aria was not bad; he fluffed the coloratura, but who doesn’t? (Peter Mattei doesn’t, I guess, but he’s special.) His acting is on the fey side, and rather funny. Surprisingly, though, he doesn’t have the more violent and dangerous side yet, and was hard to take seriously. The production wasn’t exactly helping him there.

Like in Don Giovanni, there was a vocal reversal here by casting a lower-voiced Count than Figaro, but this didn’t bother me as much as it did there, somehow.

The Cherubino, Anna Bonitatibus, has an intriguing voice with a dark and kind of spicy sound, but her style is straight out of high drama seventeenth-century stuff and her phrasing lacks the musical purity for Mozart, with too many pauses and sighs. While a decent actress, she was not particularly individual. As Susannah, Sylvia Schwartz also failed to be memorable, with a flexible but somewhat unfocused and small voice and conventional acting. Daniela Fally’s strumpet Barbarina was finely sung, though I don’t understand the production’s idea here in making her a mini-Carmen with extensive boobage and very bright red lipstick. I’m not saying it couldn’t work, but here it was inexplicable.

One can hope that this production will get better in later performances and perhaps with other casts. There are four more performances: February 19, 21, 24, and 26.

I did see Anna Netrebko in the audience, back from New York already to see her man grab every woman onstage.

Photos except below copyright Wiener Staatsoper/Michael Pöhn.

Bows:

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Review

Der fliegende Holländer: Red scare

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I would put last night’s Der fliegende Holländer into the third quintile of Wiener Staatsoper revivals. Christine Mielitz’s production has been sketchily and statically staged and was plagued with technical calamities, but it’s still interesting. Peter Schneider’s conducting was reasonably exciting and Adrianne Pieczonka’s Senta and Stephen Gould’s Erik are both good. And none of the rest is that bad.

“Richard Wagner, Der fliegende Holländer, romantic opera in three acts by Richard Wagner [sic, that’s what it says in the program–except in German].” Wiener Staatsoper, 2/12/2011. Production by Christine Mieilitz (revival) conducted by Peter Schneider with Albert Dohmen (Dutchman), Adrianne Pieczonka (Senta), Stephen Gould (Erik), Walter Fink (Daland).

This production was one of the more controversial efforts of the Staatsoper’s verfliegende Holender, former intendant Ioan Holender. Vienna gets its panties in a twist easily; this is not exactly high-level provocation.

Mielitz’s work here is interesting, but in this revival it came across as scattered. As is the norm for Staatsoper revivals, the direction of the singers was non-existent, the production reduced to the visual elements and a few static stage images. The numerous technical issues–mistimed (I think) lighting cues, creaky set changes, stuck curtains–didn’t help either. I want to be generous, because who knows what resemblance this performance bore to her original vision. I know I say something to this effect in almost review I write of rep performances, but it really bears remembering.

Some technical frailty was understandable, because Stefan Mayer’s set is complex (and not easy to make out in either of these photos, both of which are from the beginning of Act 2). A boat-like curved floor is contained in a bourgeois room, with a moving ramp, various appearing and disappearing walkways, and a catwalk above where Daland apparently keeps his birds (in cages). The red sails of the Dutchman’s ship approach from upstage center. It owes something to Harry Kupfer’s Bayreuth Holländer. The dress is ambiguous twentieth-century.

Daland and the society of the village are good capitalists (Daland reads the Financial Times), while the Dutchman and his crew are outcast radicals who dress like Goths circa 1991 in long leather trenchcoats with red bits. Senta longs to escape the strictures of bourgeois life (also the rapey drunken sailors), where she is nothing more than a commodity to her wealth-seeking father. The portrait she fixates on depicts not the Dutchman but a quartet of revolutionaries–Marx, Engels, Che, and one I couldn’t identify. Ha, that’s what kind of red those sails are. The world of the Dutchman is dark, lit by bits of yellow and red light, the bourgeois world is bright (though the switches between the two were awkwardly executed). Erik seems to represent a middle ground between the two worlds, as indicated by his brown leather jacket. I think. Maybe you see why this concept was a little unclear.

Mielitz’s most controversial gesture (judging by standing line gossip) is staging Senta’s death not as the usual jump into the sea but rather as a Brünnhilde-style immolation. This departure from the world of sea and water is unfortunate, but the redemption by fire thing is apt, no? The production takes Senta very seriously, and this is a more dramatic way of going out.

Peter Schneider conducted with the kind of energy and excitement that makes some reference to sea foam necessary. There wasn’t a lot of nuance but it was competent, effective, and that’s not bad. The brass overpowered the strings at times, particularly at the start of the overture, and the timing at the end of the development didn’t come off quite right, but in general the orchestra sounded good. The cast was respectable if not electrifying. Albert Dohmen was a passable Dutchman, certainly more imposing than Juha Uusitalo at the Met last April. He is loud and declaims effectively, but the sound is harsh, dull and lacks resonance, as well as genuine stage presence or a unique take on the character. Adrianne Pieczonka’s clear, feminine soprano (more a big lyric sound than a dramatic) is a good fit for Senta, and her accuracy and musicality are always appreciated. She acts well enough.

This was my second time hearing Met Siegfried-to-be Stephen Gould, and the second time as Erik. Fortunately he impressed me much more this time than he did at the Met last April. He’s got a big, somewhat unwieldy Heldentenor (with a dull spot around the top of his range), but the tone is genuinely heroic and he did his best to sing the music with finesse and Textdeutlichkeit. And he was a considerably more engaging actor than I remembered. He is also singing Siegfried in Vienna’s Ring this April, and now I am looking forward to hearing him in a bigger role.

Supporting characters were the usual Staatsoper crowd, including Walter Fink as an unfocused and underpowered Daland and Norbert Ernst as an ardent, somewhat pushed Steuermann. The male chorus really sold their music, sounding hearty to an almost absurd HMS Pinafore chest-thumping degree. I did wonder about the male choral division; perhaps due to the set design the Dutchman’s chorus sounded wimpy in comparison to Daland’s.

Short ovation at the end, loudest for Pieczonka and Gould, lukewarm for Dohmen. Not amazing, but a step up from the Met’s effort last spring.

Four performances remain, February 15, 18, 22, and 25.

Bows–you can almost make out Senta’s portraits at the top of the first photo:

Performance photos copyright Wiener Staatsoper, bows photos my own.

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Review

Billy Budd, indomitable

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Surprise! For once a Wiener Staatsoper production that is more rather than less than the sum of its parts. The “musikalische Neuinstudierung” of this Billy Budd has gone a long way, and the ensemble and chorus of the Staatsoper get to shine. That means, do your best to ignore most of the principals. The production isn’t going to do much to get your attention either. But it’s pretty good, all told.

Britten, Billy Budd. Wiener Staatsoper, 2/9/2011. Production by Willy Decker (revival), conducted by Graeme Jenkins with Neil Shicoff (Vere), Adrian Eröd (Billy), Peter Rose (John Claggart), lots more.

Willy Decker’s austere, elegant production is from 1996 but is only in its 26th performance. (You probably know Decker from his famous “red couch Traviata,” seen recently at the Met and earlier at the Salzburg Festival.) Nevertheless, it seems like a shell. Contra the protests of my standing room neighbor, there is nothing radical about it. The costumes are traditional period, though Billy wears pure white while everyone else wears marine blues. Whatever could that mean? The sets are more abstract. The outer deck shows a ship whose prow faces upstage (rather like Act I of Dieter Dorn’s Met Tristan). Onstage ship settings are always challenging, because if you want to be realistic those things are cramped, but Decker and set designed Wolfgang Gussmann leave the nautical allusions to the costumes and the one outer set, keeping the other sets cavernous and minimal.

Unfortunately, the direction consists largely of transitions between pretty stage pictures stripped of their motivation. Choruses move as masses, but they don’t really communicate anything at this point. Some bits of remaining Personenregie are a little over-the-top, such as Claggart crawling around the stage. One interesting element is the connection of Billy’s stammer to his bursts of violence, as his stammer is accompanied by spasms. I don’t doubt that this production worked very well when Decker was on hand supervising it all and making sure the characterizations came through, but today it doesn’t seem to have much to say about the piece. It’s beautiful, but empty. It’s neutral, if you want to be more positive about it.

(Note: The pictures in this post show the cast I saw with the exception of the one at the very top.)

Adrian Eröd sang Billy quite well, his dry, clear baritone a good fit for Britten and his last scene powerful. But he suffered from a charisma deficit, seems too knowing and wise at key points, and in a role that makes unusual demands of physical presence he is not going to land on the Barihunks blog anytime soon (he seems a bit of a lightweight). (The Barihunks blog: comprised mostly of potential or current Billys.)

Neil Shicoff was announced as indisposed in a notice that mixed an unnecessary quantity of medical detail with a few too many entreaties that he was singing anyways out of the goodness of his heart for his adoring public. He is very popular here, but come on. I don’t know to what extent this indisposition motivated him to sing Captain Vere like he was Dick Johnson, but it’s not to my taste. It was loud, loud, and louder, and while convincingly tortured he did not seem the type to have ever picked up a book. Introspection and delicacy were nowhere to be found. Verismo Vere worked in Act 2, and his wobbles calmed down for some quite impressive singing, but he had been so tortured all evening that it didn’t feel like a high point. The overstatement was both vocal and acting, so it could not have been entirely due to illness.

Peter Rose was the most idiomatic of the leads as an imposing, loud Claggart, and was effectively acted if broadly-drawn. Some of the staging given to him in Act 1 did not seem to fit naturally, but his interactions with the rest of the cast were compellingly creepy.

The real winners in this production were the ensemble and chorus, seemingly involving every 2nd Guard, Nazarene, and Servant I’ve seen at the Staatsoper all season. I don’t know this opera well so I can’t pick out too many people individually, but the overall level was impressive, and the way they all sang together more so. I would like to highlight Alfred Sramek as Dansker (as usual in a role requiring more avuncularity than voice) Markus Eiche as Mr. Redburn, Clemens Unterreiner as Lieutenant Ratcliffe (I think it was him) and Norbert Ernst as Squeak. English was a little off in some places (the Cabin Boy’s German accent was kind of hilarious), but mostly comprehensible. The chorus in particular showed wonderful ensemble and expression.

Much of the credit for the above ensemble also belongs to conductor Graeme Jenkins. The orchestra was also a little less than idiomatic, with a lustrous Old World sound sometimes lacking in leanness and tension. But for what it was it was gorgeous, the clarity of texture was remarkable, and balances and tempos spot on (with a few inevitable exceptions, this is very exposed music). It had, on the whole, a reflective, almost meditative quality–exactly what I thought was missing from Shicoff’s Vere. It was a shame that the set movers had to be so noisy during those heartbreaking chords near the end. You know the ones I mean.

Despite the issues, this is well worth seeing, and a powerful evening. Would that more Staatsoper shows came together so well! Plenty have better raw ingredients than this one and yet inferior results.

(One more comment from my offended elderly British neighbor in standing room. He was mansplaining the opera to me before the show, and carefully warned me that there were no female roles. In simple sincerity, he asked, “Do you like men?” I replied, as deadly serious as I could possibly be without giggling, “Yes. I like men.” Because I’m actually 13 years old. Luckily this flew right over his head. Was tempted to add, “And I don’t mind that this opera is gay gay gay gay.”)

There are two performances remaining: 13 and 17 February.

Photos copyright Wiener Staatsoper.

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Review

Alcina (and more) on your telly

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Make that your télé. The always-informed Opera Cake reminds us that subscribers to French channel Mezzo TV can watch the Wiener Staatsoper’s Alcina tomorrow, February 8, at 20:30. It has already aired in Germany and Austria; I don’t know about elsewhere. You can read my review of this production here, which starred mighty Anja Harteros along with Vesselina Kasarova and Veronica Cangemi, conducted by Marc Minkowski and directed by Adrian Noble. It will eventually be out on DVD. You can see a clip of it at the bottom of this post.

Here are some recent DVD releases whose live incarnations I have written about:

  •  Carmen, Metropolitan Opera. Here is my review of the second performance, here is the DVD on Amazon. Meh, it’s OK, I would get the Covent Garden one instead.
  • Simon Boccanegra, Metropolitan Opera. My review, also of the second performance. I quite liked it, but not everyone agreed with me about that. Amazon.
  • Armida, Metropolitan Opera, out February 15. My review of the first night. Can’t really recommend this one. I used the word “clunker.” Amazon. 
  • Tosca, Metropolitan Opera. This DVD is of the first cast. I reviewed the second cast here, but I saw the first as well. Met: by filming the first, you chose poorly. Amazon.
  • Medea, Wiener Staatsoper. My review of the slightly different second cast.  Highly recommended. Amazon.
  • Partenope, Royal Danish Opera. My review of the New York City Opera visit of this production (with an entirely different cast). But you should get this, because Inger Dam-Jensen and Andreas Scholl are awesome. Amazon.

DVDs are also on the way for two other productions I recently reviewed: the Royal Opera House’s Adriana Lecouvreur and Bayerische Staatsoper’s Rusalka. No release dates yet for those.

“Si, son quella,” from Staatsoper Alcina:

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Review

Fantasy Opera

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I’m in charge now.

What would you program if you ran an opera house? Lisa Hirsch came up with the idea of a “Fantasy Opera Season,” Mark Berry and Gavin Plumley are new intendants as well. I would happily subscribe to them all of their seasons with the exception that you could not pay me to see Pfitzner’s Palestrina. Here’s my program. My theater is around the size of the Opernhaus Zürich (so the Baroque operas would work), but with better sight lines.

The first season is a wish-fulfillment selection of operas I really would like to see together, most of which are in or around the edges of the popular repertory. It starts off modestly but goes out with a bang, making me suspect that my taste runs towards Really Big Operas. My opera house clearly has a Really Big Budget, too. The order is intentional; I tried to juxtapose the repertory in a thought-provoking way and suggested who I would hire to direct some of the productions. The second season avoids popular operas entirely in favor of relative obscurities that I have never seen staged live and think should be better-known, is not listed in any particular order (except for Lully and Strauss), and contains considerably more comedy.

Season 1
Mozart, La finta giardiniera (dir. Laurent Pelly)
Strauss, Arabella (dir. Claus Guth)
Janáček, The Makropulos Case (dir. Harry Kupfer)
Verdi, La forza del destino (dir. Stefan Herheim)
Ravel, L’Enfant et les sortilèges/Benjamin, Into the Little Hill (dir. Martin Kusej)
Wagner, Lohengrin
Rameau, Les Paladins (dir. Jonathan Kent)
Borodin, Prince Igor
Puccini, Turandot (dir. Calixto Bieito)
Handel, Rodelinda Rinaldo (changed my mind here)
Cavalli, La Didone
Berlioz, Les Troyens
Verdi, Don Carlos (French version)

Season 2
Reimann, Lear
Schreker, Der Schatzgräber
Rossini, Il viaggio a Reims
Flotow, Martha
Donizetti, Dom Sébastien
Rimsky-Korsakov, The Tsar’s Bride
Lully, Le Bourgeois gentilhomme
Strauss, Ariadne auf Naxos (1912 version)
Mascagni, L’Amico Fritz
Gluck, Iphigénie en Aulide
Moniuszko, The Haunted Manor
Vivaldi, Griselda

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Review

The Dude does not abide by Mahler

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I have been skeptical of the Gustavo Dudamel phenomenon, because it seems like more a product of media hype than it does of musical inspiration.  It was nice to see a younger-than-average crowd at the Musikverein for Dudamel and the Los Angeles Philharmonic’s Vienna tour concert on Friday (and I met an older woman who was at her first Musikverein concert, good to see her too), but I’m afraid that my first experience of Dudamel live was musically disappointing.

Mahler’s monumental Symphony No. 9 is a challenge for any conductor, and I don’t think it’s one Dudamel has met yet. But to start, the orchestra sounded quite good. This was actually my first time hearing the LA Phil live, but it nevertheless felt like a homecoming for me, because they do sound American. The strings have more depth than many American orchestras, but I could ID the big brass and mellow woodwinds immediately.

It’s difficult to trace a path through the symphony’s discursive first movement. Dudamel got off to a technically secure start, with clear textures and good coordination, but the character was strangely broad, warm, and serene, lacking dynamic differentiation and movement through the many twists and turns of tempo. Mahler’s essential world-weariness and bitterness was completely lacking, and the lack of emotional momentum made the movement less a journey than an amble between equally important sights. Occasionally the winds and strings would lose each other a bit, and the brass section would drown everyone else out, but the lack of detail and of dynamic contrast were larger problems for me.

Dudamel seemed to take the bounciness of the second movement’s Ländler at face value, and it came across as cuter and less sarcastic than usual. This worked better than I expected, and by whipping the waltz up into something a little exciting, the piece finally began to go somewhere, though it still seemed oddly small-scale. The third movement was definitely the highlight of the performance, with vehement, vicious playing at a murderous tempo. Here, a certain lack of depth worked. The last movement was odd, taken at a very slow tempo (I think the running time was around 28 minutes), and displaying less resignation than bold passion. While this one-dimensional, deeply earnest, Beethovenian approach seems just wrong to me, it did work in a way, and the string sound continued to be good. But the various movements never quite added up to anything. I’m not saying that Bernstein morbidity is the only valid approach to this piece, in fact my favorite recording is austere Boulez, but without more character differentiation and gravitas, you just don’t have Mahler.

Daniele Gatti will be conducting the Wiener Philharmoniker in this symphony at the Staatsoper on May 18, which is such a crazy idea it just might work.

Los Angeles Philharmonic, conducted by Gustavo Dudamel. Musikverein, 2/4/2011. Mahler, Symphony No. 9.

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Review

Barenboim and the Staatskapelle Berlin cut the pathos

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Compared to Friday night’s Dudamel extravaganza, there was a lot of elbow room in the Musikverein’s standing room section on Thursday night for Daniel Barenboim and the Staatskapelle Berlin. But I found this evening the more rewarding of the two by a significant margin. This was the final entry in a three-concert series of Bartók’s piano concertos (in reverse order, with Yefim Bronfman) and Chaikovsky’s final three symphonies (in order).

The orchestra (generally found in the pit at the Staatsoper Unter den Linden) perhaps cannot compete with the Philharmoniker of Vienna or Berlin in terms of sheer sound, but their ensemble and level of detail was very, very fine, and solo playing was also excellent. I am not too familiar with Bartók’s Piano Concerto No. 1, which belongs to the percussion section of Bartók piano music. This performance did not serve as a good introduction, with muddy playing from Bronfman that often didn’t project over the orchestra. My more-knowledgeable concert-going companion attributed this in part to the Musikverein’s obligatory in-house Bösendorfer, not a piano that specializes in crispness. The orchestra sounded excellent, though, particularly some beautiful wind solos in the second movement.

The Chaikovsky Symphony No. 6 (Pathétique) that followed intermission was outstanding, and all the more remarkable for avoiding hysteria. In the first movement, Barenboim steadfastly declined to wallow in melody or overdrive the louder sections, resulting in a detached, autumnal, Brahmsian character that was strikingly fresh and persuasive (OK, OK, especially fresh if you’re a Mravinsky addict like me). Unusual details emerged, and the narrative pacing was masterful. The second movement was a hazy, otherwordly dance, the timpani in the trio emerging with rare and ghostly clarity.

For much of the third movement Barenboim again kept from overdoing it, with more light, cheery virtuosity than immediate chaos. This allowed for a remarkably dramatic ending to the movement, where the orchestra finally let loose into fragmented loudness. A large portion of the audience broke into applause at the end of the movement, which surprised me, Viennese audiences usually don’t do that kind of thing, but given the performance it was a natural reaction. The last movement was a return to the character of the first; not as much Romantic tragedy but Greek in its solemn grandeur.

There were encores on both halves, some Bizet piano pieces for four hands (Bronfman plus Barenboim, of course) before the pause and a beautiful bit of Sibelius’s music for Pélleas et Mélisande followed by an immensely impressive Overture to Ruslan and Lyudmila at the end. Opera house orchestras have stamina.

I wish I had heard one or both of the other concerts in this series, but I heard an excellent Chaik 4 from the Royal Concertgebouw and Jansons last fall and will get a hopefully excellent Chaik 5 from the Budapest Festival Orchestra in May. But I still wouldn’t have minded more of them. Chaikovsky is overprogramed here, but he’s a composer I can happily hear over and over.

Report on (sigh) Dudamel soon.

Staatskapelle Berlin, conducted by Daniel Barenboim with Yefim Bronfman, piano. Musikverein, 2/3/2011. Program: Bartók, Piano Concerto No. 1; Chaikovsky/Tchaikovsky [hi Google!], Symphony No. 6, “Pathétique.”

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Review

Salome: Twilight of the vibratos

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Staatsoper rep night: Salome. Ancient production? Check. Underrehearsed staging? Check. Uneven singing? Check. Welcome back to the opera house where everything can go pretty much right but Salome can still come out bland. Camilla Nylund is an alright Salome, but I’m sure she’s better in other roles. Peter Schneider isn’t the best Strauss conductor out there, but you could do far worse. Unfortunately, this is an opera that requires a frisson from some source or another.

Strauss, Salome. Wiener Staatsoper, 2/2/2011. Production by Boleslaw Barlog (revival), conducted by Peter Schneider with Camilla Nylund (Salome), Tomasz Konieczny (Jochanaan), Wolfgang Schmidt (Herod), Iris Vermillion (Herodias), Marian Talaba (Narraboth).

Boleslaw Barlog’s production takes its visual inspiration from Klimt, but on this 196th performance there wasn’t much glitter left on Jürgen Rose’s sets. Gold floors are vaguely spotted with colored tiles, and generically Middle Eastern robes with mosaic bits are the clothing of choice. The photos here make it look rather nicer than it does in person, from the Galerie standing section it was just a brownish platform with some spots. The worn quality is less one of appropriate decay than simple drabness, and often there’s not enough color contrast to see what’s going on. I’m not sure what its angle was, if it ever had one in the first place. Something about the exotic as self, I am sure, whatevs. Of the Personenregie, today it is a site of park and bark.

Mystery Salome and Herod (not my cast)

Peter Schneider conducted a spotty rendition of the score. The orchestra obviously can play this piece very well, but I’m not convinced they were playing well together, and some moments worked while others were flat and unfocused. The character was somewhat soupily Romantic with Rosenkavalier tendencies, but not differentiated enough to give a decisive impression. It wasn’t bad, in fact much of the playing was quite good, but it had little shape or edge. Like the staging, it lacked intensity.

Camilla Nylund is a lyric Salome and was pushing for volume at many points. I would classify her as a Singer with Skills, not a bad thing but not an exciting one. She can be depended on to have thought through the role, give it the best she’s got, show good musical taste, and rarely make ugly sounds, but she isn’t going to get to Demented (see also: Adrianne Pieczonka). Her silvery soprano doesn’t have a particularly memorable timbre, and can get vibrato-heavy and strident at the top. Her characterization was well-acted but longing and girlish, at times almost fairy Salome, and I missed darker undertones. She deserves credit for doing her own dance all by herself, but it seemed something of a space-filler. Her most memorable moment was a creepy Sprechstimme “den Kopf des Jochanaan.”

Tomasz Konieczny was a hale and hearty, even a clean John the Baptist. He sounded healthy as well, with a metallic, noble sound that suited the part far better than his downright reputable looks and ordinary presence. The rest of the cast failed to inspire, though Iris Vermillion’s wobbly camp goddess Herodias was entertainingly over the top (sporting a glittery dress that I think we can call a harem Dirndl). Wolfgang Schmidt, after a painfully voiceless Aegisth in Elektra at the Met last season, turned up again to do the same for Herod. I know this isn’t a role where you expect beautiful singing, but there is a limit to how much hooting Sprechstimme one can be allowed characterization’s sake. Or vocal frailty’s sake, for that matter. Marian Talaba’s gargled Narraboth likewise did the evening no favors. The Nazarenes and Jews sang just fine, though the Jews carried on like dudes at Tevye callbacks at the First Presbyterian theater club, which made me a little uncomfortable.

To make Salome so competently unmemorable requires special talent, but the Wiener Staatsoper is a special place.

Photos copyright Wiener Staatsoper.

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