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Mozart. Thwarted.

In Classical Music, Mozart, Opera, Review on November 6, 2014 at 6:16 pm

Review – Idomeneo (Royal Opera House, Monday 3 November 2014)

Idomeneo – Matthew Polenzani
Idamante – Franco Fagioli
Ilia – Sophie Bevan
Elettra – Malin Byström
Arbace – Stanislas de Barbeyrac
High Priest – Krystian Adam
The Voice – Graeme Broadbent
Cretans – Tamsin Coombs, Louise Armit, Andrew O’Connor & John Bernays

Director – Martin Kušej
Set Designs – Annette Murschetz
Costume Designs – Heide Kastler
Lighting Design – Reinhard Traub
Dramaturg – Olaf A Schmitt

Royal Opera House Chorus
Orchestra of the Royal Opera House

Marc Minkowski (Conductor)

In a recent interview in The Times, director Martin Kušej – clearly attempting to annoint himself the enfant terrible of opera – commented that “with knowledge, respect — and with some freedom — we could really bring [opera] out of the 19th century”.

But take it where?

Judging from the new production of Idomeneo for Covent Garden, Kušej has dragged the genre kicking and screaming to the director’s equivalent of an abbatoir and taken a huge, bloody knife to its throat.

I have no problems with a modern approach to opera – I didn’t object to Kušej’s Forza in Munich, and other productions have been both challenging and immensely enjoyable. But this production of Idomeneo showed scant appreciation of Mozart’s opera or indeed any understanding of its provenance.

But a production is made more tolerable if the singing and the musicianship is of a high standard. Sadly, and despite the impressive line-up, I didn’t think that overall, it passed muster.

However plaudits must go most certainly to Sophie Bevan and Matthew Polenzani as Ilia and Idomeneo. Having enjoyed her Sophie, as the Trojan Princess, Ms Bevan once again demonstrated that she possesses a beautifully bright, light and flexible soprano that was perfectly suited for this role. And she combined a natural talent for Mozart with a real sense of characterization. Padre, germani, addio! caught the conflict that she felt and while Minkowski to Zeffiretti lusinghieri far too fast – where the zephyrs would have not so much caressed as buffeted any young lover – her technique allowed her to negotiate the rapid passages while conveying her love for Idamante.

As the Cretan King, Polenzani once again demonstrated his agile, richly timbred voice. Fuor del mar was thrilling, especially the da capo, and the cavatina with chorus, Accogli, o re del mar was spun with great delicacy.

Special mention too of the Arbace of Stanislas de Barbeyrac – who rightly received one of the loudest cheers at the end. I won’t even begin to fathom why he was dressed like an accordion-carrying-rambler, but his aria – with gently floated dynamics – made for a promising debut.

I am always in two minds about Franco Fagioli. There is no doubting that he has incredible technique and an impressive range, however, I was not wholly convinced by his Idamante. While he was relatively sweet-toned throughout the evening, here was a distinct lack of diction – as if he was swallowing his words rather than projecting them.

Similarly, I am not sure – after such a strong performance most recently as Donna Anna – if Elettra is a suitable role for Malin Byström. Sure enough – and despite some lack of co-ordination with the pit – Ms Byström could channel the vocal fury of the scorned princess, but she simply sounded vocally stressed in Placido è il mar.

In the pit, apart from a few faster-than-expected tempi, Minkowski brought to life the rhythmic verve and highlighted much of the orchestras detail within the score – especially in the ballet music. And while I was not always convinced by the exuberance of the continuo playing, it wasn’t as distracting as some I have heard.

But ultimately it was the production that dragged down this Idomeneo. This opera was written for a ducal court influenced by Enlightenment principles. The libretto reflected the idea of conflicted yet benign sovereignty and ultimately a burgeoning new balance in the order of things. I don’t dispute that the opera can be read in many different ways – but his vision of unremitting thuggery and violence simply isn’t in either the text or in the music.

What Kušej gave us was, quite literally, like shooting fish in a Personregie-barrel. Men rushing around carrying machine guns. Men in underpants being abused. Men dressed rockers. A pantomime High Priest. Children dressed in what can only be described as gym kit. Children carry guns. Fish. And even a shark. The only alleviation from the inanity of it all was the revolving set and what little characterization played out by the singers seemed to be of their own making – and mostly one dimensional.

I also didn’t buy his line about the ballet music only being “partially interesting”. Because, in reality his series of tableaux spoke more eloquently that the anything that preceded it. The enduring image that the “new order” was tainted, that the new generation would repeat the mistakes of the previous generation struck home was actually quite powerful.

It’s just a shame that his sense of narrative didn’t extend to the opera itself.

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  1. […] a house staple on Bow Street. The shocking irreverence that Martin Kušej showed for Mozart’s Idomeneo solicited an even angrier response from the audience. And on that occasion I can’t blame them. […]

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