Review – What An Ochs

Review – Der Rosenkavalier (Symphony Hall, Birmingham. Saturday 24 May, 2014)

Marschallin – Soile Isokoski
Octavian – Alice Coote
Baron Ochs – Franz Hawlata
Herr Faninal – Mark Stone
Sophie – Sophie Bevan
Valzacchi – Bonaventura Bottone
Annina – Pamela Helen Stephen
Major Domo/Landlord – Ted Schmidt
Marchande de Modes/Marianne Leitmetzerin – Elaine McKrill
Italian Tenor – Ji-Min Park
A Notary/Commissar – Eddie Wade
Vendor of Animals – Paul Curievici
Footmen/Servants – Nicholas Ashby, Paul Curievici, Edward Harrison, Joseph Kennedy

CBSO Chorus
CBSO Youth Chorus

City of Birmingham Symphony Orchestra

Andris Nelsons (Conductor)

It’s been a Rosenkavalier-Fest for many reasons recently. First the magnificently refined performances under Sir Mark Elder in London featuring Anne Schwanewilms, Sarah Connolly and Lucy Crowe.

Then the opening night review of Glyndebourne’s new production overshadowed by the gratuitously vicious and uncalled for criticism of Tara Erraught.

And last night a complete concert performance at Symphony Hall. If I read the programme correctly, it’s somewhat surprising that this was the first complete performance of Der Rosenkavalier in Birmingham.

Even if it wasn’t, it was a performance of incredible musicianship, virtuosity, passion and sheer verve.

And as in London a few weeks ago, the casting of the three principles – or in this case four – was luxurious.

While it might be normal to start with the three leading ladies – and they were truly magnificent – the night ultimately belonged to Franz Hawlata’s Baron Ochs von Lerchanau.

His performance was a tour de force both musically and dramatically. Often in concert productions the directing is either intrusive or limp. On the stage of Symphony Hall it was well executed and meaningful. His Ochs was a blend of misinformed droit du seigneur and comedic timing that – for some reason – reminded me of Eric Morecombe. And securely riding above his stage presence was a vocal ability that was second to none. His voice was resonant and beautifully rounded and showed no signs of strain at either end of his range. His raison d’être in the First Act went beyond bluster to a meaningful – if misguided – Credo, and his singing at the close of the Second Act was a lesson in fine singing.

The three women were similarly impressive. Soile Isokoski is a finely nuanced interpreter of Richard Strauss but previously I have felt that her performances have lacked a certain vocal lustre. So I was incredibly pleased that her performance demonstrated that whatever ‘mojo’ she had temporarily misplaced was back. And in full force. From her first entry to her final ‘Ja, Ja’ she was a Marschallin in full control. There was a luminosity – a golden sheen – to her voice that fitted Strauss’ soaring music perfectly. From top to bottom there was a rich lustre to each and every note.

Her performance of Da geht er hin was markedly different to that of Ms Schwanewilms. As opposed to the philosophic, almost intellectual resignation of the latter, Ms Isokoski’s was firmly based in a more emotional spectrum and therefore the impact was incredibly forceful. While maintaining that aristocratic distance you really felt that at the heart if it this was a Marschallin who was very much a woman. And a woman not so much afraid of age, but of being left alone. It left a lump in my throat.

As her Octavian, Alice Coote married a beautifully bronzed and shining tone with incredible acting skill. Her comic turn and sense of timing with Ochs was brilliant and combined with the vocal splendour of her singing. There was a warmth and brilliance to her tone that didn’t bleach in the upper ranges and her technique – demonstrated in her ability to scale down her voice when appropriate – demonstrates what a unique and special talent she has.

And Sophie Bevan provided a steely Sophie. In character that is. Vocally she was equally splendid. Her lower and middle range has a beautiful smokiness to it and when she effortlessly rose to stratospheric heights in the Second Act it was breathtaking.

The remaining cast members all performed their roles with great vocal and acting aplomb. Special mention must go to Ji-Min Park’s Italian Tenor (and for his two handed farewell at the end of the evening); to Pamela Helen Stephen’s Annina and to Elaine McKrill’s Marianne Leitmetzerin. And also to Paul Curivici – his bright tenor promises a bright future.

And the final trio – let’s admit it – is often the ultimate reason for attending Der Rosenkavalier. Not only because it is the emotional pay-off we have known was going to happen from the Marschallin’s monologue in Act One, but also because it is the most sublime piece of music Strauss ever wrote.

And in Symphony Hall it was perfection.

Andris Nelsons daringly took the trio at a slower tempo than I’ve heard in a while. But he never lost control of its various strands, unfolding the glorious music with an authority that demonstrated he clearly knew the overall architecture of this opera. And not once did he allow the singers – as is often the case – to drown one another out. Each of the three vocal lines was clear and distinct as he drew them to that crushing climax at the Marschallin’s In Gottes Namen at which point the singers – and the audience – were overwhelmed by the orchestra. As Strauss wanted.

How anything could follow that was impossible to consider but Mesdames Coote and Bevan then performed the most sublime Ist ein Traum, scaling their voices back to the finest pianissimi I’ve ever heard.

Supporting the singers was the CBSO – players and singers adult and junior. The Chorus was suitably full-throated and the Youth Chorus revelled in their role – especially manhandling Hawlata off stage. I hope the girl who fell over in the excited exit was okay.

And the orchestra – after a somewhat hesitant start – demonstrated that they actually have this music music not only in their bones but in their hearts. Under Nelsons’ superlative direction they had that European depth of tone – not only in the strings but also that elusive timbre in the woodwind and brass – that is vital in Strauss. Even more than usual, Nelsons and his players found that often-missed vulgarity in the Second and Third Acts and that necessary lilt in the waltzes that permeate this opera.

As the final notes died away, the audience could barely wait for the final notes to die before showing their appreciation for an incredible evening of music making and drama.

The ovation was a fitting tribute.

In Gottes Namen please record this.

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