I think it's fair to say that Giordano's Andrea Chenier is not exactly top of the operatic hit parade when it comes to performances at the Royal Opera House. A cursory glance indicates that it was last performed there over 30 years ago! And yet it has some fabulous arias and duets that are loved by singers and audiences alike and quite rightly rolled out at gala concerts all over the world. La Mamma Morta is famously featured in the movie Philadelphia. As voiced by Maria Callas the aria is a high point and usually has audiences reaching for the hankies in no time. So why the dearth of performances?
When I asked the same question not so long ago about Puccini's Manon Lescaut the answer seemed to revolve around the tenor role and the lack of a suitable voice (or at least one willing) to take on the part. And so the story seems to be repeated here. And it seems to be no coincidence that once again Jonas Kaufmann steps into the breach and dares to go where no other tenor at Covent Garden has gone before - at least for quite some time.
Covent Garden has certainly rolled out the big guns for this new production. David McVicar directs, Antonio Pappano conducts and along side the 'world's greatest tenor' the cast is pretty decent too. Eva-Maria Westbroek (something of a house favourite) debuts her Maddelena with baritone Željko Lučić as nominal villain Gerard. Minor casting is not skimped on either with former diva Rosalind Plowright as the Contessa, Denyce Graves as Bersi and Peter Coleman-Wright as Fleville. What could possibly go wrong?
On the vocal side, actually very little indeed. Jonas sings with practiced technique and a golden burnished ardour throughout - an accomplished debut of a very arduous tenor role. Four arias and duets aplenty - not forgetting to save your best for the final blistering duet - this is not an easy sing by any means. If I'm honest there's definitely a sense of power held in reserve and the singing is never anything less than tasteful - whether verismo should be quite this tasteful is for others to judge. I did enjoy it (more so the second performance I saw) but think an ounce more 'oomph' wouldn't go amiss. But quite honestly, not sure which other tenor (preferably alive) who I'd rather see and hear in the role. His portrayal of Chenier was more detailed than most - a sulky resentful poet in Act 1 as he surveys the aristocrats at play; Act 2 reveals Chenier as drunk and disillusioned with revolution and its excesses...until love is revealed in the shape of Maddalena. In Act 3 a sense of resignation to his fate is revealed, only briefly illuminated by his angry self-defense. Act 4 is simply the culmination of all that has gone before - a short very sublime postscript, the duet a mini-Liebstod as the lovers welcome the embrace of Madame la Guillotine.
Eva-Maria Westbroek also makes her stage debut as Chenier's doomed love Maddalena. The soprano has less to sing perhaps but also has to work harder to make an impression. The diligent soprano is rewarded with slightly more character development than the tenor, going from young flighty aristocrat to world-weary fugitive and finally, and in the final act, to absolute heroine. Her Act 3 confrontation with Gerard is the turning point of the opera and she certainly makes the most of it. The voice may not be ideally suited to the repertory but she is a warm-hearted and totally believable character and in many ways becomes the beating heart of the opera.
Revolutionary fervour is encapsulated in the form of Carlo Gerard - and as played by Željko Lučić he makes the most of every opportunity - saving his best singing for his aria Nemico della Patria. Again, not typically Italianate in tone but dark, firm and secure of voice - and a decent actor to boot. Not sure if he's already done Scarpia but that role surely beckons?
As you might have noticed by the photographs, this was a resolutely traditional production by David McVicar. Or as he put it himself 'It's the French Revolution - its a no brainer!' Costumes by Jenny Tiramani were equally traditional and well researched. It's a very decent production though to be honest, not that exciting. I though the vast open sets worked well for the opulent French chateau of Act 1 - less well for the remaining acts. It was all a bit too vast, too well-scrubbed and too polite - no sense of real menace or threat. There was no real sense of shock and outrage in Act 1 as Chenier impolitely rounded on his hosts with his improvised denunciation of the aristocracy. Or even when a scattering of peasants intruded - quickly shooed away as the gavotte resumed. The Act 3 trial scene was also curiously tepid in places - a bit more grit here wouldn't go amiss.
I feel the composer also has to take his share of the blame for being less than convincing in places. While the arias and duets shine with passion and inspiration, some of the other music is less memorable and the energy sags as you wait for the next big "tune". Maddalena and Chenier could also have done with a bit more stage time together as the progress of their relationship is episodic to say the least and you have to take it on trust that they fell in love somewhere along the way!
These are minor quibbles which are swept away by the passion of final short act where it almost feels as it there has been a sudden power surge! The temperature leaps up as Jonas lets rip in Come un bel di di Maggio - Chenier's final soaring lament, quickly followed by the ecstatic duet Vicino a te, as his beloved comes to die with him. A gorgeous and sublime ending to a not quite perfect opera.
If you can't get to London or can't get a ticket, ROH are broadcasting this opera around the UK and the rest of the world. Transmission details for your area can be found Here - have a feeling this production will work even better in close up.
And for your viewing pleasure the final glorious duet can be heard here:
Oh dear! Its been a long time since my last post hasn't it? Unfortunately I was laid low for quite a while with a persistent chest infection which meant that not only did I feel pretty rough, I had to cancel quite a lot of my planned opera and concert going.
But enough of that! Now restored to relative full health, though I'd start the year with a look back at what I did manage to see!
Outstanding New Production
Surprisingly (or perhaps not!) my outstanding production of 2014 comes not from ROH but from ENO. The Girl of the Golden West was a delight from start to finish. A sympathetic, singable translation ensure that this opera was the deserved success it should be. All of the lead singers nailed their characters and if their voices weren't quite 'perfect' they more than made up for that with dramatic commitment. Why can't all opera be like this?
Runner up for this category - Manon Lescaut at the Royal Opera. Again, not quite perfect by any means but the cast almost convinced you that it was!
Best Revival
Once again there was so much choice for Best Revival but this performance of La Boheme with Ermonela Jaho and Charles Castronovo just stood out from the crowd. Great singing of course, but what impressed and moved me were their performances - they simply became Mimi and Rodolfo. As I said in my end of term report - mesmerising and magical.
Highly commended in this category was a surprisingly good Barbiere di Siviglia and a deeply emotional Diaglogues des Carmelites (classed here as a revival as its been around for so long!).
Best Male Performance
Yes I know, but honest I couldn't resist this year! Jonas Kaufmann is simply a force of nature! Put him in the right role and he simply overcomes resistance...at least for me! I think his most impressive performance came from the new Met production of Werther - which I managed to catch in the HD broadcast. He really does suit the more brooding and introspective characters. Also impressive was his assumption of Des Grieux in the ROH Manon Lescaut, even if the production didn't quite fire on all cylinders. But most memorable for me was his performance of Wintereisse also in the hallowed halls of ROH. This has led to the purchase of many lieder CD's (not just his) and also many tickets to Wigmore Hall!
Honorable mentions for Best Male Performance go to Charles Castronovo for La Boheme and Michele Angelini in his ROH debut as Count Almaviva in Barbiere di Siviglia
Best Female Performance
So many riches to choose from, but if I'm honest the performance which simply blew me away in 2014 was Sondra Radvanovsky in Tosca. This was my first chance to hear this artist in person and oh my word...what a stunning voice! I simply left the auditorium open mouthed with wonder. Stunning. Please, please can she come back?
Other outstanding female performances were Joyce DiDonato (Met HD Cenerentola), Karita Mattila for a stunning Ariadne auf Naxos, Susan Bullock for a resplendent Minnie in Girl of the Golden West and Kristine Opolais - her dramatic commitment to Manon Lescaut was impressive indeed.
Biggest Disappointment
Once again I suppose it was the quality of the new productions. Don Giovanni was the biggest disappointment for me. While the singing was for the most part top notch, dramatic invention was replaced by overused projections and a spinning set. Add a touch of misogyny to the female portrayals and a bizarre ending for a most unedifying experience!
So there we have my selections for 2014.
Have a Happy New Year everyone and I wish you many new musical highlights for 2015.
Wow! What a season that was...and how quickly time has gone by. Doesn't seem five minutes since I was compiling the 2012/13 highlights but here we are again. For me this has been a very positive season at ROH where the highs have definitely outweighed the lows. Of course live theatre isn't perfect but I really feel that this has been such a great season - great singers, interesting productions and a good mix of new experiences and revisiting old favourites. Here's what I saw at ROH this season:
Productions I missed this season in the main house were La Fille du Regiment and Die Frau ohne Schatten - which isn't bad going really.
Best New Production
Once again this was a really hard decision. I find new productions quite frustrating for the most part. Quite often they are so nearly perfect (Manon Lescaut) but then something goes awry. In other cases I am baffled and sometimes quite angry (Don Giovanni). But in the end I have to make a decision and its probably not the one you think...
Yes, considering the Wagner-phobe I claim myself to be, Parsifal won me over to such an extent that even my love for tenors and Jonas Kaufmann couldn't sway me! The combination of production and Wagner's music completely transformed my opinion. Not saying I love everything about Wagner (I don't) but for some reason this particular opera hits the spot. Now, if ROH would only entice Mr Kaufmann to come sing it, I'd be an even happier woman!
Worst New Production.
Sigh. For some reason this category is one of the easiest to judge although I have to say that on balance, the new productions this year were slightly less annoying than last seasons but there is a clear winner for me....
Yes, I'm afraid Kasper Holten's production of Don Giovanni left me less than impressed. The combination of whirling set, constantly flashing lights and borderline misogynistic concept meant that although I wanted to like this production, I didn't. At all. Best Production Revival
Once again, spoilt for choice amongst the many commendable revivals. Some great performances from singers enlivened even the most venerable and staid of productions. Honourable mentions go to Faust, Manon and Ariadne auf Naxos. But, the surprise winner is.....
La Boheme. I know! All the more surprising as this time last year I chose this opera (reluctantly) as my 'worst production revival'. Well all I can say is, what a difference a year makes. John Copley once again returned to breath new life into this veteran production, but it was the casting of Ermonela Jaho and Charles Castronovo which made all of the difference. Subtle and believable actors, they instantly convinced as star-crossed lovers Mimi and Rodolfo. And not only that, their musicality and willingness to live the drama on stage totally convinced. Mesmerising and magical. Worst Production Revival
Once again this category was very hard to pick. Most of the revivals I have seen these season have had their merits, be it in individual performances (Tosca) or the production itself (Nozze di Figaro). But for better or worse the winner is....
Carmen. It wasn't bad. But it wasn't really a stand out either. Individual performances were okay but frankly this just seemed like another routine revival of an old warhorse. The production now seems tired and lacking in verve. Alagna was good but brought no special insights into Don Jose. Next!
Best Male Singer Performance
Ah. Now I know what you think. She's going to pick that tenor again. You're right but quite frankly when you have a tenor who is currently performing at the very top of his game, then there is no choice. The winner is....
Yes, its that man again. Jonas Kaufmann. Although as you may gather from the picture, I'm actually choosing him for his magnificent performance of Wintereisse, rather than his performance in Manon Lescaut. Not that his Des Grieux wasn't good - it was fantastic. But it is rather his ability to totally entrance in lieder and then switch to full-blooded and passionate operatic singing that has me hooked.
Very honourable mentions go to Charles Castronovo, Gerald Finley and Bryn Terfel.
Best Female Singer Performance.
This has been the season of some very great and wonderful soprano singing. I've encountered voices new to me and revisited some favourites. Honourable mentions to Lise Lindstrom, Ailyn Perez, Joyce di Donato and Karita Mattila. But my winner for this season is....
Wow! Just wow! I was almost left speechless by my first encounter with the Tosca of Sondra Radvanovsky. Where has this soprano been all of my life? Well not at ROH very often to be sure. This voice is the real deal. And her assumption of the role of diva of all diva's was just perfection. Brava Sondra - please come back soon.
And finally...
Operatic Highlight of the Season.
I've had so many highlights this season that I really consider myself very lucky to live near London and have the opportunity to see and hear some wonderful opera. There were many highlights for me, not least Manon Lescaut which was wonderful and frustrating at the same time. Mentions must also go to Ariadne auf Naxos, Faust and Turandot. But my highlight of the season was....
Yes it was actually Dialogues des Carmelites. I have waited so many years to see this opera but it was worth the wait. Musically and dramatically satisfying and emotionally overwhelming. Just wonderful.
So that's it for another season and I'm already missing the place already! My next scheduled visit is in September to see Barbiere di Siviglia...here's a little taster of what lies ahead...
I love this opera. Thought I'd better get that out in the open before we go much further. And I have a pretty long history with it, as bizarrely (given its comparative scarcity) it was one of the first full length operas I watched back in the early 1990's when I was first getting into opera in a big way. Placido Domingo was really my way into opera - I loved his voice (still do) and I loved that he could act and make me believe in the character he was playing. So when I investigated his video catalogue and found Manon Lescaut (which I'd never heard of) it didn't faze me one bit...and as a bonus it also starred Kiri te Kanawa and Thomas Allen.
I think its safe to say it was love at first sight...or first listen. I just fell in love with the romance, passion and desperation it portrays. And even in a traditional no-surprises sort of production, the plot is clear and concise, the singing soaring and melodic (even if Kiri was having an off night due to illness) and the music simply sublime. Yes, I love Tosca and Fanciulla, but if I'm honest Manon Lescaut is my first love. But since 1983 there have been no performances of Puccini's first great success at the Royal Opera...until now.
You can imagine then my excitement when it was announced that Jonas Kaufmann would be taking over the mantel of the lovelorn Chevalier Des Grieux opposite Latvian soprano Kristine Opolais as Manon Lescaut. Jonathan Kent was announced as director and Antonio Pappano conductor. I had no qualms at all about Tony P at the helm. He is such a great Puccni conductor, almost feeling the music in his blood. And he has such a magnetic and enthusiastic personality - I just love to watch him talk about music and especially Italian opera.
Jonathan Kent is a slightly different proposition, although it has to be said I have only had two previous experiences with his productions, one of which I love, the other, well I pretty much hated it. I loved the ROH Tosca production, although I don't think you can really go far wrong with Tosca. The other was a Flying Dutchman for ENO which started well but then deteriorated badly and changed Wagner's passionate opera of redemption into something else entirely. So its fair to say I wasn't entirely sure which side of the fence Manon Lescaut would finally rest. As it turns out, it was somewhere in between.
But lets get the good stuff out of the way first. The most important question for me is 'is the singing any good?'. Kaufmann is a very well known quantity for me now so I had no doubts about his ability in the vocal department. And sure enough he was outstanding as a lovelorn student forever in thrall to Manon, singing with a desperate passion that I have not heard from him before. The voice seemed to soar effortlessly even in the dark and heart-rending scenes of Acts 3 and 4. Make no bones about it, Manon Lescaut is not an easy opera for singers and this is one of Puccini's most difficult tenor roles. There were definite hints of Otello in his passionate Act 3 pleas and in the total desperation of Act 4. There is such drama in the self-loathing and debasement the character feels, and Jonas gives it his considerable all. This part fits him like a glove and I'd go far as to say its one of his best roles. Yes, perhaps you could say that the Act 1 arias could be lighter and more flirtatious, but that's a minor quibble and I thought he sang them well. This is his début as Des Grieux and already he has scheduled two more new productions - one in Munich later this year with Anna Netrebko, and a rumoured production at the Met in New York, a co-production with Baden-Baden. Make no mistake, Kaufmann and Puccini are a match made in heaven.
Kristine Opolais comes to the part of Manon Lescaut with a pretty good track record in Puccini and a fast growing reputation as a singer to watch. I caught her in Tosca last year and whilst I enjoyed her performance I didn't find her as exciting as everyone had told me she was. I did enjoy her characterisation of Tosca which went a long way, but vocally I thought she was good but not extraordinary. After now hearing her in Manon Lescaut, I still feel much the same way, although I think the part of Manon suits her much better. Don't get me wrong, I loved the total performance and her chemistry with Kaufmann was extraordinary. She's an effective actress and this was a great début in a difficult role (and a difficult production...more later) but take away the stage and the acting and the set and what do you have? A very good voice to be sure but not one that I could pick out of a crowd. And that readily identifiable quality is what I miss in her voice - something special that marks her out from the crowd. I also heard her sing Desdemona's aria at the Proms last year and on balance I actually think I prefer her Verdi. But I'd definitely go to see her again - she's doing Butterfly next season and I will be there no doubt about it.
Christopher Maltman as Manon's brother Lescaut (another role début) was in very good voice indeed, in what is quite an ungrateful part for a baritone...but then Puccini wasn't really that interested in baritones as a rule. As a result his part tapers off in Act 3 and he is never seen again. I think an ounce more charm would make this character even more of a success, but Chris did what the director asked of him and it came off pretty well I thought.
If I've been cagey so far about the production there's a very good reason for that...its because basically I'm feeling a bit schizophrenic about it! I loved half of it but then.....
But I'm rushing ahead.
Jonathan Kent made no bones about it in the lead up to the production that this was to be a modern contemporary version. If I was nervous about that, it was only because I'd already seen the Welsh National Opera 'contemporary' updating recently and was less than impressed. I was so not impressed by it that I couldn't even blog about it - that's how much I disliked it. I don't mind updatings and enjoy quite a lot of them, but I do hate it when directors change the story on me, to give me their own version or tell a completely different story to the one the composer is telling. I have a particular problem when they do this with Puccini as his music is so specific and so theatrical that if you try to tell a different story, it doesn't match the music. For me, the WNO production of Manon Lescaut had the same affect as nails down a blackboard. Great directors work with the music, not against it.
I've now seen the new ROH production twice, once on stage and once on the big screen HD broadcast so I've had a chance to think about it and see what worked for me and what didn't. Broadly speaking Acts 1 and 2 worked dramatically and Acts 3 and 4 were less successful. Not helpful in the house were the restricted sight-lines experienced in some areas. I notice that ROH Director of Opera Kasper Holten has now apologised for this with a promise to do better next time.
Apart from sight-line problems most of the directorial ideas worked well in the first act, although I found the slightly self-concious waving around of iPads amusing. The gaming tables/casino set up on stage were a little odd and would it have hurt to put the supposed soldier Lescaut, into a uniform - at least for his introduction? Otherwise all was colourful enjoyment, even if there was a little too much running up and down stairs on this multi-layered set.
Act 2 was possibly my favourite although it appears I may be in the minority. This is the act where Manon has left her young lover for the abundant riches of Geronte, here played as some high-level, filthy rich banker. She is comfortably ensconced in a Barbie-pink gilded cage of a boudoir, platinum blonde wig and minuscule dress, her dancing lessons transformed into some sort of soft-porn movie shoot, watched by Geronte and his hangers-on. As bizarre as this sounds it works very well and at no point do you ever feel that Manon is there against her will. No. This is the price she is willing to pay for the riches, jewels and fame that come her way. Although the music provided by Puccini is faux- 18th century (including an elegant minuet at one point) this still works for the most part. Where Jonathan Kent has got it absolutely right, is the depiction of sex - both successful and not quite so successful. (Avert your eyes now if you're squeamish).
Manon Lescaut is about sex, passion, power, lust and desperate devotion. No where is this more evocatively portrayed than in the music of Act 2 which musically describes not only the overwhelming physical passion of Manon and Des Grieux but a slightly less successful encounter between Manon and Geronte. In traditional productions these two encounters are slightly less obvious, usually involving a dance for Manon and Geronte and then a passionate embrace for Manon and Des Grieux. Listen again. The music accompanying the 'dance' builds in a slow but steady rhythm, the music rising higher and higher with suitable vocal encouragement from the hangers on, until suddenly the music suddenly skitters out of control, as Manon's more mature admirer suffers a bad case of errr...getting overexcited shall we say? While not explicitly shown in this modern production, Manon was straddling her aged protector on the bed at this point, so I think the director knew exactly what he was doing.
As he was when he finally had Des Grieux burst onto the scene, once Manon's other admirers had left her bedroom. After the usual recriminations Des Grieux capitulates to Manon's charms, allowing himself to be seduced...although in this production he is by no means passive in the seduction! "I can fight no longer" he says, and the love duet proper begins. The ensuing duet is a musical depiction of sex - passionate loving sex to be sure, but sex all the same, and the singers throw themselves into the action as required, culminating in a musical orgasm, complete with whispered sweet-nothings muttered in the post-coital glow. When Des Grieux mutters "Manon, mi fai morire" (you make me want to die or you bring me close to death), he's not talking about actual death, but rather the more pleasant 'le petite mort' - an orgasm. And nothing wrong with that at all. Unsurprisingly, when Geronte unexpectedly reappears there is consternation all around - lets face it, he has just walked in on them, in bed, basking in the sexual afterglow and while no nudity is involved, I think this production leaves no doubt as to what as happened. As an aside, I thought it was slightly more 'passionate' in the dress rehearsal and slightly, only slightly, toned down for the HD broadcast. Not sure if this was due to the inclination of the singers, director, opera house or possible DVD censors! It still works but I'm intrigued.
Photograph Copyright Bill Cooper
And alas this is where my praise for the physical production more or less ends. In Act 3, the original story has Manon (after Geronte has her locked up for being an 'immoral woman') sentenced to exile to the American colonies. In this production Manon is sentenced to....I'm not really sure! When Des Grieux and Lescaut arrive to rescue Manon, she seems pretty much able to wander about as she wants! No ship awaiting to take her to exile, in fact no mode of transport at all. It seems to be some sort of game show set up, although everyone looks to be a loser and their fate is to step through a ripped poster. Now, call me old-fashioned but that doesn't really work for me. The music and singing was as sublime, passionate and heartfelt as ever (especially from Jonas) but there was no sense of drama in the setting, no sense that he was about to be separated for ever from his love, that she would be exiled and never seen again. Luckily the two principles managed to overcome the lack of coherent drama, providing it all with their acting and singing -but what a let down!
The very short Act 4 (which basically consists of one long duet interspersed by a solo aria for Manon) was also scenically not ideal. For a start, the action basically continued on without pause from Act 3, Manon still dressed in her tattered and now faded pink Barbie dress. In the novel on which this is based, some time has passed and Manon and Des Grieux have settled happily in the colonies until once again trouble ensues, Des Griuex kills the Governor's nephew who had desired Manon, and they had to flee, ending up in some deserted wasteland far from civilisation. Although Puccini didn't set any of this to music, I think it important to note that once again they are in trouble and its not just a continuation of the previous act. The production here sets this on a half destroyed flyover/highway leading nowhere. Honestly, if this is literally just supposed to depict 'the end of the road' then I'm disappointed and slightly miffed to be honest. While I don't like to over-intellectualise at the opera, I don't like being treated as stupid either. I presume the director wasn't aiming for stupid but that's what it felt like. Anyway, this worked a lot better in the broadcast than it did in the theatre. The singers were placed precariously high up on the highway, resulting in a lot of sight-line problems in the house. The singing was of course sublime and in many ways, made up for the lack of imagination and clear plot narrative displayed. Here I thought, Opolais came into her own, as Manon finally realises how much she loves the man beside her. "My faults will be forgotten, but my love will never die." Frankly, if you're not in tears by this point, you've a harder heart than me!
So in all it was a mixed bag and yet I actually do like this production and I will buy it if it comes out on DVD. Somehow the singing and orchestral playing overwhelm any faults in the production - and the faults are not so huge that the piece as a whole is not worth seeing. But I do also wonder if this production will be revived in the near future - and how revivable it is. Exactly how good would this production have been without the combined vocal and dramatic talents of Kaufmann, Opolais, Maltman and Pappano in the pit? How many top class sopranos do we have who can also pull off the skimpy Act 2 costume. How many tenors can match not only the excessive vocal demands, but also the shimmying up and down staircases and ladders? I don't know the answer, but I do know that this will be a hard cast to follow. That plus the fact that contemporary productions date rather quickly. Jonathan Kent commented that his Tosca for ROH had to be traditional to accommodate frequent revival with a variety of singers. Does he then not expect the same for his Manon Lescaut?
At this point I must also praise Tony Pappano and the ROH orchestra. What a master of Italian opera and Puccini in particular Pappano is. The famous Intermezzo was so richly played, the narrative so clear, the emotion so apparent, that I was almost in tears just listening to this piece. I'm looking forward to the rumoured collaboration between the Maestro and Kaufmann in a recording of Puccini arias. I'll leave you with Pappano and the Intermezzo:
Jonas Kaufmann is something of a modern-day operatic phenomenon and unarguably one of the best singers on the operatic stage today. He also happens to be an enthusiastic proponent of the art of lieder, art songs with piano accompaniment, and it was a lieder recital which brought him back to the Royal Opera House on a wet Sunday evening in April.
Lieder is something of an acquired taste and one which I'm currently working on acquiring, so this was an ideal opportunity to catch up with my current favourite tenor and advance my knowledge and experience of lieder and of Winterreise in particular. I will freely admit up front, that I'm spectacularly unqualified to comment on the nuances of lieder, so this is not a technical review, merely impressions from someone who loves singers. I'll admit to feeling a certain amount of apprehension as the house lights dimmed, wondering what on earth I had let myself in for! I've been to a few recitals before but never a song-cycle in German - surely this would demand fierce concentration and musical intelligence? Still, safe in the familiar surroundings of the Royal Opera House and with a tenor whose voice I already know and love, I was ready for anything....
....except I wasn't really for the set from Act 3 of La Traviata, which is what greeted the audience as the curtain slowly rose. Actually this isn't as bizarre as it sounds, and the neutral and somewhat desolate set provided the perfect background for this recital about lost love and unbearable grief.
The opera house is probably far too large a venue for this sort of recital and yet it worked incredibly well...mainly due to the artistry of Kaufman and Helmut Deutsch, his long-term collaborator. Very cleverly, Kaufmann started softly, quietly, settling the audience and inviting them to listen rather than expanding his sound to fit the venue. It worked for me as I settled in my seat and paid attention. The surtitles helped of course, although by the end of the evening they were almost superfluous as the singer had woven such as spell that the meaning was quite clear. I was quite taken aback by the sheer tonal beauty of the voice. I know this probably sounds ridiculous but I'd forgotten (or never realised) what a simply beautiful voice he has. With orchestra, costumes and other peripheries stripped away it was like hearing the voice for the first time. Recordings simply do not do him justice. However, it has to be said, that for all the gorgeous meza-voce singing, when he occasionally let the voice off the leash, you understood why he is one of the best opera singers today. It also occurred to me, that this was probably the first time he has sung in his own native tongue on the stage of Covent Garden. I do hope it won't be the last time.
I can't analyse every song but suffice to say, I was swept unerringly along towards the devastating conclusion...at least it was devastating in the hands of Kaufmann and Deutsch, so devastating in fact that the audience was left in stunned silence, hardly daring to breath, until at last, Kaufmann himself took a deep breath and came back from the brink. Just amazing. I may have shed a tear or two then. I can only compare it to a similar emotional experience I had when watching Parsifal a few months ago. Quite, quite breathtaking. The audience finally erupted with applause, calling the pair to the stage four or five times before they were permitted to leave. Kaufmann in particular seemed stunned and out of it for a while, although both he and Deutsch had quickly wiped away a tear on conclusion. I know how they feel.
Reading reviews and Twitter reaction today, there seem to be several criticisms....most of audience behaviour it has to be said, but also other elements such as location, marketing ploys etc etc. I wouldn't normally bother responding but I had such an emotional reaction to the recital that I feel moved to put forward a few comments of my own.
The following rants are my own views and not aimed at anyone in particular.
Firstly, the audience. There has been much comment on coughing between songs. Frankly it didn't really bother me that much - I'd much rather they coughed in the pauses, then when the singer is actually singing. Not sure what singers think about this but I'd be interested to know. Unfortunately, the pauses almost seem to invite a clearing of throats and I'm not sure what else can be done. Make an announcement beforehand? Anyway, with an audience of almost 3,000 people, it is unreasonable to expect total silence. No one around me had a coughing fit but perhaps I was lucky. Although I could have done without the hearing aid feedback at the beginning!
Location. Yes the opera house is big, but as described above Jonas totally made it work. Not sure what the sound was like at the back of the auditorium was like, but again I'd be interested to know. In my experience with opera, the auditorium is usually where the best sound is. Given Mr Kaufmann's current level of fame, I'm not sure that there is any other solution in London. The Wigmore Hall holds around 600 at best so getting a ticket for a Kaufmann recital is virtually impossible there...unless he had a week long residency (totally impracticable given his hectic diary and I don't suppose the Wigmore's coffers can stretch to that) then I'm not sure what the solution is. If they held more suitable recitals or orchestral concerts at ROH I'd definitely go.
Marketing. Here's the thing. All opera singers with a high enough public profile record an album and then tour to promote it, whether that album is opera, lieder or Mario Lanza tributes. Not every single album, and not all the time, but like every artist of whatever genre, they've got to get out there and sell it - that's why record companies sign them up in the first place. Recent examples; Rolando Villazon, Joyce DiDonato, Joseph Calleja and yes, Jonas Kaufmann. And the problem is?
Kaufmann Fans. Yes, guess what, there were a lot of Kaufmann fans in the audience. Funny that. And yes, perhaps many of them had never been to a lieder recital before (although I'm sure a lot had). What a great opportunity then for them to experience another facet of Kaufmann's artistry and yes, maybe even venture into exploring further. Even if only one or two go to another recital or buy a lieder CD, isn't that worth it? Isn't that a result of some sort? Rather than bemoaning the fact that its taken the appearance of Kaufmann to get them into a recital, why don't we celebrate the fact that they're here?
I could go on but I think I've ranted enough. I was going to comment on perceived elitism and lieder but perhaps I'll leave that for another day. Suffice to say that for the moment at least, I feel more comfortable attending a recital in the vast space of the opera house, whatever its faults, than the smaller confines of say Wigmore Hall. Maybe one day that will change - I hope so.
Anyway, to end on a positive note, I thoroughly 'enjoyed' my first Winterreise...not quite the right word but you know what I mean. Jonas Kaufmann is currently on top vocal form, singing with gorgeous tone and musical intelligence. Long may it continue.
After reading so many reviews and blogs and tweets about the current run of Werther at the Met Opera, needless to say I was practically champing at the bit to experience this production, if not live, then probably the next best thing. The fact that Werther is portrayed by the 'tenor du jour' Jonas Kaufmann only added to the anticipation. I'll try not to let this blog post descend into 'fan girl' gushing but its going to be hard! As it happens, this was also to be my very first experience of a Met HD broadcast in the cinema which was also an intriguing prospect, so I'll expand a bit more about that aspect of my experience.
My cinema of choice was the Curzon in Mayfair, a little gem with only two screens and a world away from the large multi-screen cinemas more commonly found. Seating just over 300 in total, the auditorium was ample without being oversized, with comfortable seats, attentive staff and a nice line in Prosecco, Chardonnay and Merlot which you could sip at your seats - very civilised indeed! The auditorium was about three-quarters full as a guess - not bad for a 5pm start I thought. My fellow opera fans were slightly more 'mature' than I...which is quite something given that I'm not exactly a spring chicken myself!
My once concern before the broadcast started, was the thought of the possibly overwhelming volume levels. Don't get me wrong, I don't mind my opera loud when it needs to be, but this is Werther, and something a little more subtle is required, rather than the normal volume at cinemas which tend to rattle the walls! Luckily my doubts about the quality of the picture and volume were soon put to one side - I couldn't really fault either, apart from a couple of little 'glitches' in the stream, but they only last for a couple of seconds.
So, to the opera itself.
I don't really have a big history with Werther. I know the most famous tenor aria of course, but I've never seen a live performance before. I have seen the DVD of the 2010 Paris production, also coincidentally starring Jonas Kaufmann and Sophie Koch as his Charlotte. I enjoyed the performances of both very much but the actual direction of this DVD I find annoying in the extreme. Unfortunately the director shows us shots of the singers waiting in the wings, the back of the conductor and the orchestra and more or less kills the mood that the singers are working so hard to establish. Bizarre.
Luckily this new production by Sir Richard Eyre was filmed in a pretty straightforward way for the broadcast. Close-ups were more or less on-cue and appropriate, the singers always totally in character, the larger picture also lovingly detailed. The production itself was in the traditional mould but none the worse for that. There were a lot of projections - this seems to be a 'thing' now and I think that directors are still getting the hang of how to use and more importantly how much to use! My recent Don Giovanni at ROH, used them a little too frequently I thought. Here they were used sparingly but effectively, especially when they eased transition from one scene to another, the house and garden of Charlotte and her family, magically transforming into a ballroom where Charlotte and Werther dance and fall in love. I would be interested to know how effective the projections were in the theatre as opposed to the broadcast - they certainly seemed impressive on the big screen.
This was the last performance in this particular run of Werther and I think it probably showed in the performances. Rarely was there a moment when any of the cast were not totally committed and in character - a difficult feat to pull off when the camera is constantly on you. And yet I believed in all of the characters - even the annoying ones!
This opera is a slow burner - there is a lot of scene-setting in Acts 1 and 2 and Sophie Koch as Charlotte paced her performance accordingly, only allowing us a glimpse into her changing emotions in Act 3 and then the ultimately tragic consequences in Act 4. She is a believable warm presence as Charlotte, with a voice to match and an utterly convincing actress in this part. David Bizic as her husband Albert was new to me and his voice was smooth and darkly coloured. But this is not an especially grateful singing role for a baritone, with few opportunities to shine. Lisette Oropesa has a bright-voiced winning soprano and in the role of Sophie she is sweet without being saccharine, suggesting hidden depths and empathy with her sister's plight.
But let's face facts here - Werther is all about the tenor. And when the tenor is Jonas Kaufmann you can be sure you are in for an emotional roller coaster ride. The voice of course is wonderful, perhaps darker and more burnished than before, which is unusual itself when this role has traditionally been sung by the likes of Alfredo Kraus, Nicolai Gedda and more recently Roberto Alagna. Kaufmann makes it work though, his darker tones suggesting a more brooding presence from the start. But its not just the voice - wonderful as that was - its the full commitment to the role that impresses.
The final act is a master-class in acting from both singers as Werther commits suicide (quite graphically here) and Charlotte arrives too late to save him - but not too late to comfort him and finally admit her love. There were moments here when I was quite literally holding my breath. And, strange as it sounds, there were also moments when I actually forgot that they were singing and everything was just the drama being played out. That for me is the ultimate in operatic acting.
So for me, my first Met Live HD experience was a thrilling one and one I'm definitely going to repeat at some stage. No it can't replace the special thrill of being in the opera house and hearing singers live, but when that's just not possible then this is the next best thing.
Following in the footsteps of so many bloggers, tweeters and opera critics I offer my own thoughts on the highs and lows of the live performances I attended in the year 2013. I've restricted myself to five categories - as inspired by Opera Britannia's own review of the year.
Outstanding New Production
Amongst some lean pickings, my very first experience of a staged Parsifal won by a long margin. Apparently I may be going against the grain, but for a Parsifal virgin such as I, this was the ideal production to start with. It wasn't perfect by any means...but then I don't seek perfection in live performances. Amongst the many glories was Gerald Finley as Amfortas, surely one of the greatest singing actors we currently have.
Best Revival
Of course it must be Don Carlo - hardly surprising I hear you cry. But quite apart from my predilection for Jonas Kaufmann, I must admit that Don Carlo is rapidly becoming my favourite Verdi opera. This revival, with a top notch cast was a real treat - if only the production itself was a little more inspiring but that is a minor cavil when you have such superb musical values on display.
Best Male Performance
All things considered this has to be Gerald Finley for his amazing performance as Amfortas in Parsifal. Simply stunning. Close contenders were Erwin Schrott in Les Vepres Siciliennes (almost clinched by the infamous black dress) and Jonas Kaufmann in Don Carlo.
Best Female Performance
Another difficult choice but in the end I was so blown away by Lise Lindstrom's performance as Turandot that she emerged as the outright winner. While I found the production itself a little disappointing (surely time for a new one?) she took the role by the throat and made her house debut in very fine style indeed. I can't wait until I get the chance to see her again.
Honourable mention must go to Joyce di Donato in La Donna del Lago - again while I didn't love the production, she could do no wrong in my eyes.
Biggest Disappointment
Oh dear - where to start? I suppose my biggest disappointments (apart from Anja Harteros cancellations) have been with most of the new productions I have seen at ROH - especially Nabucco and Eugene Onegin. Uninspiring, dreary and sometimes just plain weird, I have had some of my most disappointing evenings when attending a new production - with the honourable exception of the new Parsifal and I do hope that is an encouraging start to the 2013-14 rosta of new productions. I'm certainly looking forward to Don Giovanni, Manon Lescaut and Maria Stuarda and Die Frau ohne Schatten but only time will tell if there has been an improvement.
So there it is - my highlights and lowlights of 2013. It only remains for me to wish you a very Happy New Year and to wish you happy opera-going wherever you may be.
La Fancuilla del West (to give the opera its full title) or 'The Girl of the West' in English, is not the opera that springs most readily to mind when you think of Puccini - Tosca, Boheme and Turandot are probably better known by the general public and even if you don't know the opera you could probably reel off a few of the better known arias - tiny hands, fine days and brightly shining stars spring to mind. But arias from Fancuilla don't readily spring to mind. And that's a shame because even though the opera is more through-composed that Puccini's earlier works, there are still musical highlights - mainly for the tenor it has to be said.
Perhaps the 'Cowboys and Indians' American West setting is also off putting? But Puccini was always attracted to the exotic and what could be more exotic than a love story set in the American Wild West at the time of the Gold Rush? At least that's where the playwright David Belasco set his original story and where Puccini's librettists also set their story. Not where this production is set but more of that later.
The story itself is relatively simple, boy wanders into bar in a mining town, where he meets girl and they fall in love, despite interference from the local sheriff - your classic love triangle. However, what the girl doesn't know is that her new love is in fact the leader of a band of renegades who rob and steal from the local community. When she finds out, she throws him out, he is shot by the sheriff's posse but is hidden by Minnie (the girl). When he is found, still bleeding and wounded, by the sheriff, a high stakes poker game takes place - winner gets the bandit (Dick Johnson or Ramerrez). As you may guess, Minnie wins her bandit and gets to nurse him back to health.
But that's not the end, for as soon as he leaves the sanctuary of Minnie's cabin, he is set upon and captured and about to be strung up for his crimes (but not until he's sung a gorgeous aria naturally). Minnie rides in and puts a stop to all that nonsense, reminding the assorted miners of their basic humanity until they agree that they won't kill him. Minnie and Ramerrez ride off into the sunset together. An operatic happy ending? Possibly.
As might be expected, Vienna's new production has very little of the Wild West about it. Its still a mining community in the US, although given Jake Wallace's audio gig on cassette player, I'm guessing at some time in the 1960's. All of the miners are dressed in overalls so it loses a lot of cowboy theme and the Act 1 set consists of Minnie's diner surrounded by a steel container town. It actually works quite well providing you ignore some of the ambiguities that always happen when you update opera. The Act 1 plot basically consists of a lot of back story and set up until a) the soprano arrives and then b) the tenor arrives. So there are no 'big' tunes, but instead of that we get vivid orchestration and (hopefully) some fine work from the male comprimario singers.
Act 2 takes place in Minnie's cabin and its here that things get more interesting - both dramatically and musically. Minnie brushes up quite nicely for her new beau and they chatter about this and that and try to ignore their growing attraction - well Minnie tries to ignore, I think Dick is all for it. On dismissal of Minnie's house-help (here not played in Native American-Indian fashion, but is played pregnant), kissing and rolling around on the floor ensues. Well, if it was Jonas Kaufmann you would wouldn't you?
Alas, Dick/Ramerrez thinks better of it and tries to leave but is now stranded by a snow storm. Minnie (as you might suppose) is not entirely disturbed by this turn of events and they settle down for the night - in separate beds. Damn! This sweet interlude is only interrupted by the sheriff and his gang turning up on the hunt for Ramerrez - thus unmasking Dick Johnson and Ramerrez as one and the same. Minnie doesn't give him up to the sheriff at this point but seemingly cannot forgive him for being a lying, cheating bastard! You go girl. Personally I think he's just a mixed up guy needing the love of a good woman but that's just me.
All this changes however when he is shot and she is then willing to lie and cheat herself to keep him from the clutches of the sheriff. They play poker with Ramerrez as the prize. (I'd play!). Minnie cheats at cards and she gets to keep her man - for now at least.
Act 3 is short and sweet and basically consists of Dick/Ramerrez being captured, nearly hung out to dry and then Minnie riding to the rescue just in the nick of time.
Apart from updating and not so many cowboys (and no Indians), the story was played pretty much straight in this new production. Jonas Kaufmann looked very fetching in leather ensemble, Nina Stemme looked less so in unflattering dungarees and red hair. Her wardrobe did improve marginally for the second act but flattering it was not. Luckily both were in fine vocal form. This is not Ms Stemme's first stab at Minnie and the experience showed. Its a demanding role with very little pay-off in terms of having a belt it out aria - none here for the soprano alas. But in a succession of duets and quasi-conversations she embodied the character of the good-hearted innocent Minnie and why a man like Johnson/Ramerrez might have been attracted to her.
Jonas Kaufmann's role début as Dick Johnson once again illustrated his winning way with Italian opera but also his understanding of Puccinian line and phrasing. The high notes were ringing and his two allotted arias gorgeously sung and acted. As a first outing I thought it was good and I do hope he keeps it in his repertory to develop further.
Tomasz Konieczny played the sheriff Jack Rance as some sub-par Scarpia, a cardboard cut-out villain with very few redeeming features. That's not how I read the character in the opera but I presume that's how he was instructed to play it. Alas, the voice was also not pretty and sounded pretty strangulated and effortful in places.
The opera ends with Minnie and Dick climbing into a rainbow coloured balloon and sailing off to a new life. Why? Beats me. I'm sure there's some intelligent and deeply thought out reason by the director Marco Arturo Marelli, but nothing that had gone on previously pointed to this somewhat surreal exit. Or maybe he just likes coloured balloons.
But all in all this is a very enjoyable production and if you do get a chance to see it I don't think you'll be disappointed.
Looking back over my 2012-13 season of opera, concerts and theatre I can only count myself lucky to have access to some truly great theatre in London. As this blog is mainly operatic in nature and dedicated to a certain opera house, I'm going to concentrate on opera I have seen at the Royal Opera House from September 2012 to July 2013 - and hand out a few awards in the process. But to give you an idea of which opera I'm judging, this is what I managed to see at Covent Garden this season:
Albert Herring (not strictly ROH but staged by ETO at the Linbury)
The Minotaur
Eugene Onegin (new production)
Written on Skin (new production)
La Boheme Tosca (twice plus a rehearsal) Nabucco (new production) Die Zauberflote (twice) Don Carlo (twice) La Donna del Lago (new production) Gloriana (new production)
La Rondine
So, not included in my considerations are the Ring Cycle which kicked off the season (still a bit of a Wagner-phobe...or Ring-phobe), L'elisir d'amore, Robert le Diable (probably just as well), Simon Boccanegra or Cappricio in concert.
Best New Production
This was a perversely hard decision as quite frankly I think most of the new productions this season have been a bit of a let down - I do hope this isn't going to be a trend. But in the end my vote goes to....
Gloriana. Although some critics didn't enjoy the 1950's framing device, I thought it worked. I also enjoyed the commitment of the cast and of the conductor Paul Daniel, and although Susan Bullock's voice is not a beautiful instrument, she was touching in the final scene and the whole opera was a joy to watch. Toby Spence was also a fine Essex and brought a sweet vulnerability to the part.
Worst New Production.
Where to start? For the most part I found the new productions this season depressing or incomprehensible or both. Doppelgängers in Eugene Onegin could have been a good idea but the execution was clumsy and interfered too much with the story. Rather perversely I enjoyed the production of Written on Skin but hated the actual music. Nabucco was musically very good indeed but so depressing to watch - 50 Shades of Grey indeed. So that just leaves the winner of this category....
La Donna del Lago. Poor Joyce. She's a game girl but even she couldn't persuade me of the merits of this one. Which is a pity as the singing was sublime - as you would expect with Joyce di Donato and Juan Diego Florez. But what a waste of such fantastic singers. One where you closed your eyes and listened.
Best Production Revival
A bit spoilt for choice here and most of the revived productions were well executed, well sung and had their particular merits but for me the winner is....
Die Zauberflote. For me, the sign of a great production or performance is that I want to go back and see it again - and in this instance I did, with the added bonus of a different cast for the second performance. Both casts were equally good. Stand out performances for me were Charles Castronovo as Tamino, Simon Keenleyside still funny as Papageno and Sophie Bevan as Pamina - not all in the same cast unfortunately. David McVicar's production is still magical and I'd definitely go back and see another performance.
Worst Production Revival
Actually very hard to pick out a production that I'd label 'worst' so be kind I'd say that this one is less good in comparison to others this season. The winner is....
La Boheme. Now don't get me wrong, I like Boheme as much as the next person and I also know that this production is vintage and 'well loved' but honestly I think its time for a new production to have a fresh look at this. Mind you, given the lack-lustre new productions this season perhaps we'd better stick with this for a few more years. The singers were fine and in some cases very fine indeed. Sonya Yoncheva as Musetta impressed, as did Hibla Gerzmava as Mimi. Vittorio Grigolo I found quite annoying. His arrogance and mannerisms on stage did him no favours, which is a pity because when he settled down and started paying attention to his fellow singers (and the conductor) he was actually quite good.
Which brings me to...
Best Male Singer Performance
For regular readers of this blog (and my twitterfeed) the winner of this award will probably come as no surprise. However there was some serious competition and honourable mentions must go to Charles Castronovo in Zauberflote and La Rondine; Feruccio Ferlanetto in Don Carlo, Aleksandrs Antonenko in Tosca and Toby Spence in Gloriana. But the winner has to be...
Jonas Kaufmann. As as I said, probably no surprise but honestly this performance just blew me away - so good I saw it twice. I would venture that the role of Don Carlo is a great fit for Kaufmann, he really seems to relish the dark, tormented characters in opera so this one fits the bill perfectly. And if you add superb acting to the daring vocalism and you have the perfect package. I'm hooked.
Best Female Singer Performance.
Lots of competition for this one too. I'm not as heavily invested in the female voice, although I do love a good mezzo it has to be said. Honourable mentions go to Angela Gheorghiu in Rondine, Sophie Bevan in Zauberflote, Lianna Haroutounian in Don Carlo and Krassimira Stoyanova in Eugene Onegin. But for me the winner is.....
Joyce di Donato. Whatever the faults of the production, the singing from Joyce was absolutely superb and if she had any doubts about what she was being asked to do, she certainly didn't show it. Add to that a winning manner and a wonderful down to earth personality which I was lucky enough to see in her masterclass, then Joyce is my Best Female Singer Performance of the season. Brava!
And finally...
Operatic Highlight of the Year.
This simply has to be...
Don Carlo. And not just because of the wonderful performance by Jonas Kaufmann. If you add Ferruccio Ferlanetto, Lianna Haroutounian, Mariusz Kwiecien, not to mention Tony Pappano conducting then you have a top class performance.
So that's it. Covent Garden is (relatively) quiet until the new opera season starts with Turandot on 9th September - I'll be having an early preview with the dress rehearsal on 7th September so watch this space.
In the meantime please do let me know your favourites of the season.
In my previous blog post I looked into the background of Il Trovatore and confessed to some of my problems with it, or rather my problems in experiencing a fully realised dramatic production of the work. I'm going to get down to specifics in this post by looking at two very different productions - and both with some satisfying moments.
Going back to 2002 , the Covent Garden production directed by Elijah Moshinsky is updated to a 19th century, roughly pre-Napoleonic era, a fact that doesn't really add anything but on the other hand, doesn't detract either. The sets are dark and monolithic with Moshinsky's trademark columns and large oppressive sets. The military setting is very much emphasised here with lots of male-bonding amongst the bored troops and the Count di Luna sporting a set of very snazzy uniforms. There is very little to upset anyone here - as would be expected for a Covent Garden production.
The singers are of a high standard - Jose Cura as Manrico, Dmitri Hvorostovsky as Di Luna, Veronica Villarrroel as Leonora and Yvonne Naef as Azucena. Cura is an effective actor and is always in character although sometimes this is achieved at the expense of the vocal line. I have always admired his voice - its tone being baritonal and hefty and yet with a reasonably easy top. His portrayal of Manrico emphasises the gypsy almost to the exclusion of any other character traits - you would never doubt that he was Azucena's son and they even have a physically similarity. He copes admirably with the all of vocal challenges and the Di Quella Pira seems to hold no fear. Like Jonas Kaufmann, his is a divisive voice - you either love it or hate it. I happened to love it although that was in 2002. I fear the years have not been kind to his voice and he doesn't appear at the big houses that regularly any more, although I note a recent, not totally successful Otello at the Met earlier this year.
Dmitri as Di Luna comes across as a little reserved and uptight but that works in the context of the role. His singing is beautiful and heartfelt and you do have to wonder why Leonora doesn't run off with him instead. Okay, so he may be a little obsessive but what a voice. Veronica Villaroel has a rich spicy tone but lacks the bel canto qualities that Leonora requires and you do feel towards the end that the role is perhaps one step away from being too heavy for her voice at that stage. However she has nice chemistry with both leading men - it just needs a little more oomph. Last but not least is Yvonne Naef as Azucena. The voice is more refined that many Azucena's I have heard and perhaps a little more madness/obsession is required in her portrayal but she is a fine singer.
The production however doesn't really move beyond telling the story as laid out in the libretto without really digging into the terrible events described by Azucena and the consequences for all the characters. The production teetered dangerously close to 'Carmen' territory in Act 2, and by that I mean you could quite happily have imported the gypsy chorus from Carmen into Trovatore and no one would have been the wiser. There was also a slightly distasteful if half-hearted rape scene which I presume was an attempt at controversy. Uncalled for rape scenes in opera always set my teeth on edge but luckily this one didn't labour the point.
The highlight of this production was actually the closing scene which was done very effectively indeed. In most productions Manrico is dragged off to be executed (sometimes off stage) with Di Luna and Azucena looking on. Here, Manrico is actually shot by Di Luna, Azucena then sings her triumphant 'he was your brother' line, and Manrico slumps lifeless into Di Luna's arms, ending with that tragic tableau. I thought it made the ending even more powerful than usual and was very effective in bringing home exactly what Di Luna - and Azucena - had done.
It is an effective production in many ways and one which I would happily watch again.
Which brings us to this.
This image is just one action packed scene from the recent Munich production of Il Trovatore. There is no possible way I can go into every single detail of this production - and in a way that's what I didn't like about it. There is far too much going on here and for very little benefit. Apparently set in a dreamscape, the stage is constantly revolving, the story constantly moving around between reality and nightmare. Some things worked for me and some things didn't. Having Leonora portrayed as being blind might have been interesting if they'd developed the theme, but alas it just came across as a way of getting around the problem of mistaken identity in Act 1 - after that the blindness just gets in the way. I can only imagine the restrictions placed on the singer.
The overall impression I got was that the director, Olivier Py doesn't trust the story - or the singers - or the composer...or even the audience come to that.. Why else would you have to constantly change the images? Why else would you have Azucena's mother wandering around the set and her execution acted out in some sort of dumb show? The music tells us exactly what happened, it doesn't really need saying that Azucena is haunted by her mother because we know that. For the main part, this production reveals nothing new and simply serves to obscure the story further. It drastically needs paring down to the essentials and getting rid of the clutter to concentrate on the principles.
Speaking of which, I thought the four principle singers coped admirably with what they were being asked to do, especially as this was Jonas Kaufmann's first attempt at the part of Manrico. What an introduction! He has said in previous interviews that ideally he prefers to sing in a 'traditional' production of a new role first and then he always has something to refer back to if he should find himself in a wacky, way-out production. Unfortunately he had no where to turn here but delivered a sterling committed performance anyway. I still don't think it's an ideal role for him but he made a pretty good case for it. I'd certainly like to see him in a less cluttered production. I heard him sing Manrico twice (one audio and one webcast) and he had definitely improved on second hearing - not that the first was bad in any way but you could hear the improvement the second time. As always he got a lot of stick in the press once they finally realised he hadn't sung the unwritten high C but he was quite open about it and frankly I don't blame him. I am not a high note freak when it comes to tenors - especially when the composer didn't write them.
Anja Harteros was sublime as Leonora and is probably the world's pre-eminent Verdi soprano today. If her acting was less convincing then she was restricted by the blindness concept and the fact that the libretto gives her little scope for doing other than singing spectacularly which she does. She does interact with Kaufmann very nicely indeed and I'm looking forward to La Forza del Destino which they will be doing together in Munich later this year. It is also being broadcast on the web on the 28th December for anyone interested.
Alexey Markov as Di Luna was a bit bland for my tastes. Vocally he was fine but he was left floundering dramatically which may be the fault of the director as the individual 'personregie' or actor direction was lacking in most cases, Py being more obviously interested in abstract images than telling the story.
Which leaves us with Azucena as played by Elina Manistina. Azucena is actually the pivot of the opera- everything stems from her actions past or present and if a director doesn't realise that then he's directing the wrong opera. Fortunately this is one area that actually worked for me although it still could have been better. I couldn't actually tell if the mezzo was a good actress or not but she did what she was given to do with conviction so it sort of worked. Her voice was good if not as ultimately thrilling as some others in the role and she cut a striking figure in top hat, flouncy skirt and dramatic make-up.
Where this production really worked for me was in the pivotal scene between Manrico and Azucena in Act 2 but before I get to that I may have missed out a little bit of the back story. You see, when Azucena's mother was burned alive and she kidnapped the Count's younger son, she was so crazed she intended to wreak revenge by throwing him into the fire! Except that in her grief and madness induced trance she threw her own son into the flames - at least that's the story she tells in Act 2. Oops. Which makes her fraught relationship with Manrico open to all sorts of possibilities - semi-Oedipal or otherwise.
This then is the dark heart of this opera, this twisted, dark, confused relationship between mother and foster-son. This relationship is ripe for exploration and at least some of it is delved into here. Although never totally explicit, my impression is that Manrico is somewhat of an abused child - both physically and possibly, now that he is grown up, sexually. Azucena certainly has no problems clambering into bed with him, running her hands over his body (ostensibly to check for wounds) and then finally planting an very un-motherly lingering kiss on his lips. Well, she knows that he's not really her son I suppose. Manrico is submissive rather than willing, quite often flinching as she touches him or trying to shield himself from her. But she is also quite happy to tie him to a chair (and you get the feeling that's not the first time) or hold a blade to his throat in order to get him to do what she wants. Theirs is a very confused relationship indeed.
Others may disagree with this approach but it totally worked for me. Of course Azucena would have conflicted feelings about this child/man - not only had his father killed her mother, her own guilt at killing her son by mistake would be quite successfully deflected onto poor Manrico. This is the only production I've seen where its made explicit that Azucena has totally groomed Manrico to be the tool of her revenge so that at the end of the opera there is no sense of regret when Manrico is killed by his own brother. I don't think the final scene actually worked that well to be honest - the blocking and timing of it was very anti-climatic as the Count's aide stabs Manrico in the back. Could have been done better.
But that sentiment applies to the production as a whole, for in spite of illuminating the dark relationship between Azucena and Manrico it failed in too many other places. I leave you with one of the more successful images of the production....
