lietofinelondon

Posts Tagged ‘Christian Thielemann’

Women on the verge.

In Classical Music, Opera, Review, Richard Strauss on February 2, 2014 at 5:30 pm

Review – Elektra (Semperoper, Dresden, Friday 31January 2014)

Elektra – Evelyn Herlitzius
Chrysothemis – Anne Schwanewilms
Klytämnestra – Waltraud Meier
Orest – René Pape
Aegisth – Frank van Aken
Companion of Orest – Peter Lobert
The Maids – Constance Heller, Gala El Hadidi, Simone Schröder, Rachel Willis-Sørensen, Nadja Mchantaf
The Overseer – Nadine Secunde
Young Servant – Simeon Esper
Old Servant – Peter Lobert

Director – Barbara Frey
Bühnenbild – Muriel Gerstner
Costumes – Bettina Walter
Lighting – Gérard Cleven
Dramaturgy – Micaela v. Marcard

Sächsischer Staatsopernchor Dresden
Sächsischer Staatskapelle Dresden

Christian Thielemann (Conductor)

If the rest of Richard Strauss’ 150th anniversary maintains the standard of Semperoper’s Elektra, then 2014 will be more than a memorable year.

It will be a fitting homage.

The singing, the playing and – for me at least – the production came together almost perfectly.

In terms of the singing, if there was ever an opera equivalent of Fantasy Football League (please can someone invent it) then this cast was a ‘dream team’.

Is there a soprano on stage today who is a more convincing Elektra than Evelyn Herlitzius?

In compete command of her vocal technique, her rigorously disciplined instrument permitted her to take vocal risks that, combined with some finely tuned acting, made her characterisation so visceral. Yet at the same time she balanced it with an innate and musically intelligent sense of shade and colour. I don’t think I’ve heard the Recognition scene sung with such emotional and musical inteliigence, both Herlitzius and Pape completely committed to and immersed in that wonderful moment.

Therefore I find it incredible that we haven’t seen Ms Herlitzius in London. But then the same can be said of Ms Pieczonka in our capital and not forgetting that Anne Schwanewilms has only recently made her debut at the Met.

Such a towering performance from so physically slight a singer could not but cast a shadow on the other members of the cast.

But only slightly.

Anne Schwanewilms’ Chrysothemis contained all the trademark intelligence and eloquence that this soprano brings to Strauss. Her bright, piercing soprano for the most part sailed over the orchestra and as with her troubled sister, Schwanewilms is an instinctive actress. She portrayed both the often-missed vulnerability of this character as well as her exasperation and desperation. Her final return to the stage dressed as the never-to-bride, even at that moment conveying the forlorn hope that she might marry even after the double murder, and punctuated with the most heartrending calls for her brother will remain with me for a long time.

Who doesn’t admire and love Waltraud Maier both as singer and actress? Just as her Waltraute for Barenboim, Ms Meier’s Queen demonstrated that this soprano is a seasoned veteran who brings a real intellectual depth as well as formidable interpretive skills to any character she portrays.

Onto this Klytämnestra, Maier overlaid a real sense of fragility onto the more expected paranoia. Her scene with her daughter not only laid bare these feelings as well as her wariness and fear of Elektra, but also the unbreakable Mother-Daughter bond not often seen in productions. Just before the scene ended there was an unexpected moment of tenderness between the two that made Klytämnestra’s final exit, clearly accepting her fate as foreseen by her own daughter, all the more chilling especially as it was as if she was entering a tomb.

However at points it seemed as if Ms Maier was too immersed in the character. Her projection dimmed to too much of a whisper as if internalising only to herself the emotional journey the queen was going through.

It was also wonderful to hear René Pape in the role of Oreste. His dark timbre was perfect, suitably grave yet burnished and I have to admit in a production of generally small gestures his acting was powerful.

Where other productions of Elektra are often let down, the principals here were brilliantly supported by the rest of the ensemble. If I had to single out one other member of the cast then it would be the Fifth Maid of Nadja Mchantaf. Velvet-toned and even throughout her range she brought a real sense of dimension to this short-lived role and is definitely one to watch.

And in the pit, Christian Thielemann was magnificent, marshalling singers and orchestra with incredible authority and knowledge of the score. I personally think his affinities lie closer to Strauss than Wagner, and last night only confirmed that belief.

From the very first notes, he drew exemplary and confident playing from the orchestra. Where some conductors miss or submerge the detail in the mistaken belief that Elektra should simply assault the eardrums, Thielemann uncovered the lightness amidst the darkness and transparency within Strauss’ sometimes ‘over-orchestrated’ textures. And while he never let us forget that this is the composer’s most expressionist work, he celebrated the lyricism imbued both in the soaring melodies and motifs and similarly he was also not above judging when the orchestra – dominating the emotional mood with a motif or theme – rose over the singers.

More so than I’ve heard in previous productions of Elektra, Thielemann was not scared to allow the music to breathe, unfettering phrases and just as importantly seeking out the silences which are so essential in creating that sense of impending dread far more effectively than a hack and thrash battle through to the end.

It might not have been to everyone’s taste but I enjoyed the fresh perspective of Barbara Frey’s production, her first for Semperoper.

Let’s not forget that Elektra – both for Hofmannsthal and originally for Euripides – is ultimately a family tragedy. This was Frey’s focus but she also suggested new perspectives and interpretations.

For this director Klytämnestra may have wielded the axe, but all three women were complicit in Agamemnon’s death.

Elektra for example isn’t dishevelled and abandoned. Rather, in a dress more suited for an evening of revelry than the mourning weeds she more often dons in productions, she is no outcast.

Chrysothemis’ appearance from the very beginning not only reinforces her role as go-between but also voyeur but her final appearance in that extravagant wedding dress again hinted at a more secure position within the household.

And this was was a production of small gestures and actions. It was like watching a slow fuse burn and in some ways reminded me of Almodovar. Small gestures and tics – like Klytämnestra’s rubbing of her arm, Chryosthemis raising her arm in despair, the way the Maids hunched protectively together – replaced the histrionics.

And Frey had clearly spent time with the singers. As well as the Mother-Daughter relationship, Frey and the singers also re-examined other pivotal moments.

There was a surprising sexuality to Frey’s Elektra. Her flirting with Aegisth for example hinted at something darker in her personality. And as she tried to persuade her sister to commit the murder, in that moment as she caressed Chrysothemis, she morphed into lover and future husband. The look of subsequent horror on Chrysothemis’ face isn’t only the result of thoughts of matricide but also – perhaps – seeing a side of her sister she wished she hadn’t.

The aforementioned Recognition scene was built not only on the singing and orchestral playing under Thielemann, but also the direction on stage. This wasn’t an emotional roller coaster or brutal revelation that it sometimes is. After the initial shock Elektra and Orest rediscovered their childhood love. I, for one wasn’t jarred by the use of children as their younger selves and the way Herlitzius and Pape acted with one another – ending as it did with their foreheads press together as if accepting their own fates – was beautiful. Orest’s seeming reluctance to commit murder was similarly well observed and even Elektra’s final ‘dance’ was more in her own mind’s eye than for the audience.

And by keeping all the violence – including the brutal murder of the Fifth Maid – off the stage, Frey force the audience to focus on the main characters as well as the music and thereby distilling the emotions created even further.

Even the set was suggestive. The decorative balcony, the clothes of the main characters were reminiscent of the era of Strauss and Hofmannsthal themselves. Yet it was clearly a home in transition. The hole in the wall where Elektra concealed herself, the spare paneling against the wall and piled on the floor indicated to me the final stages of redecoration. it was as if they were trying remove any evidence of Agamemnon himself but ultimately had failed. For above their heads was the motto Justitia fundamentem regnorum – loosely translated as ‘Justice is the foundation of kingship’. An all too ominous aide memoire – none of them could neither escape the murder committed nor, with the accompanying lion’s head motif of the house of Atreus above it the spectre of Agamemnon himself.

And while the lighting was for the most part simple there was a single moment of breathtaking beauty – that moment when Orest first appears. Suddenly the house is dark except for a single beam of moonlight cascading into the house from one side which – for whatever reason – reminded me of the light in the Secessionsgebäude in Vienna.

Yet for all this, at no point did the production overpower the music making. Rather it added to the whole as an equal partner.

And it was this equilibrium between all the parts – singers, players, conductor and director – which made this Elektra so magnificent and memorable.

Viva medici.tv – Ariadne auf Naxos (Festspielhaus, Baden-Baden)

In Classical Music, Opera, Review, Richard Strauss on February 26, 2012 at 7:46 pm

Review – Saturday 25 February 2012

Ariadne/Prima Donna – Renée Fleming
The Composer – Sophie Koch
Zerbinetta – Jane Archibald
Bacchus – Robert Dean Smith
The Music Teacher – Eike Wilm Schulte
Majordomo – René Kollo
Harlequine – Nikolay Borchev
Scaramuccio – Kenneth Roberson
Truffaldino – Steven Humes
Brighella – Kevin Conners
The Dancing Master – Christian Baumgärtel
Lackey – Roman Grübner
Naiad – Christina Landshamer
Dryad – Rachel Frenkel
Echo – Lenneke Ruiten

Director & Set Designer – Philippe Arlaud 

Costumes – Andrea Uhmann
Conductor – Christian Thielemann
Staatskapelle Dresden

Having seen The Met’s production of Götterdämmerung, as a HD live transmission a few weeks ago it seemed but a small step to watch a live stream of an opera via my laptop from the comfort of my own home.

It is something I have always considered doing but it wasn’t until I stumbled upon medici.tv that I decided it was time. And it had everything to do with lure of Ariadne auf Naxos from the Festspielhaus, Baden-Baden. Plus the fact that my MacBook Pro has a rather generous screen.

First things first. medici.tv is an exemplary service and technically the live stream was faultless. Good value at about 7€ a per month a quick scan of its catalogue persuaded me to take out a subscription – even if some of the performances and recitals are currently geoblocked in the UK.

However the main driver for watching the performance was Renée Fleming’s role debut as Ariadne/The Prima Donna. And having seen her live as the Marschallin and Madeleine, the Countess in Capriccio she did not disappoint. I have said it before, Renée Fleming is a brilliant Strauss interpreter – his vocal lines suit her perfectly, and over the years her voice has developed an even warmer and burnished tone throughout its range without losing any of its flexibility. Es gibt ein Reich was simply beautiful – and Fleming demonstrated not only the smoothest of legato phrasing but complete control of the dynamic range of the scene with light and dark shading of her voice. However while this was for me the highlight of the evening – when she sang ‘totenreich’ it sent a shiver down my spine – hers was a faultless performance throughout. In particular her final duet with her Bacchus – Robert Dean Smith – was wonderful, again with not even a hint of strain.

I had previously seen Sophie Koch at Covent Garden – first as Octavian and then in her role debut as Brangäne in Loy’s much-maligned – but personally loved – production of Tristan und Isolde. I do hope ROH revive it. As The Composer – looking somewhat like Charlie Chaplin to me – she had a pretty convincing grasp of the taxing vocal line that Strauss had written for the character. However there were times when there was clearly strain at the top of the voice and occasionally a more fluid legato line was wanting. However a strong performance nonetheless.

The surprise of the evening was Jane Archibald’s Zerbinetta. Not only must the soprano who takes on this role be a formidable singer, she must also be a good actor. Ms Archibald had both in spades. Not only did she inhabit the character completely – flirtatious, vivacious and, to me at least, more than a little wise – but she had great stage presence. Even over broadband. And vocally she was impressive. Her performance of Grossmächtige Prinzessin! was not only vocally impressive but intelligently performed. Quite rightly she was applauded at the end of the scena and at the end of the performance.

Similarly it was great to see The Majordomo reprised by René Kollo. Often taken – and usually with great aplomb – by actors Kollo brought his vast experience, including the insight of singing Bacchus himself, to the role. Masterful.

Strauss has never been kind to his tenors. I think of The Emperor in Die Frau ohne Schatten for example, and similarly in Ariadne auf Naxos he doesn’t seem to warm to them much. The vocal line often sits uncomfortably high for many singers but in Baden-Baden Robert Dean Smith acquitted himself brilliantly. Vocally clear and bright his final duet with Ms Fleming was, as I have said already, wonderful. You could almost believe they were wandering off into the sunset.

It’s often easy to forget that – possibly more than his other operas – Ariadne auf Naxos is an ensemble piece from the very beginning. And the ensemble at the Festspielhaus was excellent. However special mention must go to Roman Grübner for his clear voice and slick acting as The Lackey, he three nymphs – Christina Landshamer, Rachel Frenkel and Lenneke Ruiten – and the comedia dell’arte inspired troupe – Nikolay Borchev, Kenneth Roberson, Steven Humes, Kevin Conners as well as Christian Baumgärtel’s Dancing Master.

And what of the production? This is the fourth production I have seen. I’ve watch the Metropolitan Opera production on DVD and many moons ago saw the production at English National Opera in the early 1990s (quite possibly my first exposure to the work as well as to Richard Strauss). More recently I saw the production at Covent Garden complete with its rising floor.

I have to admit I enjoyed the Baden-Baden production. It was unfussy and simple and clearly Phillipe Arlaud was more than inspired, it seemed, by Hollywood. I have already mentioned Koch’s Chaplin-esque Composer but even Renée Fleming had the hint of a 1950s starlet about her. Although her outfit in the Opera reminded me tangentially of two unrelated things. Firstly her look brought to mind Elizabeth Connell who sadly died recently. But also of the costume allegedly worn by Mary, Queen of Scots for her execution – a black gown hiding a Catholic-martyr red dress beneath. And Zerbinetta has something of the Sally Bowles about her.

And clichéd though it might be, the sight of Ariadne and Bacchus walking off into the night was simple and effective.

It all worked and I don’t think Arlaud deserved the boos when he came on stage.

The conductor, Christian Thielemann, is more than an accomplished interpreter of Strauss and he led the Staatskapelle Dresden throughout with great distinction and clear love for the score. And while it might be almost impossible to judge this from a live stream to a laptop, there was clearly a strong connection between the pit and the ensemble on stage.

So a night of firsts. Ms Fleming’s first ever Ariadne, and I hope that one day I will see her perform the role live on stage. For me, my first ever live-to-laptop streaming. And it’s definitely something I will be doing again. I can’t say it will ever replace the thrill, excitement and atmosphere of a live performance but time and money preclude me from attending every thing I might want to see.

And I heartily recommend that everyone sign up for medici.tv.

A great find.

Viva medici.tv – Ariadne auf Naxos (Festspielhaus, Baden-Baden)

In Classical Music, Opera, Review, Richard Strauss on February 26, 2012 at 7:46 pm

Review – Saturday 25 February 2012

Ariadne/Prima Donna – Renée Fleming
The Composer – Sophie Koch
Zerbinetta – Jane Archibald
Bacchus – Robert Dean Smith
The Music Teacher – Eike Wilm Schulte
Majordomo – René Kollo
Harlequine – Nikolay Borchev
Scaramuccio – Kenneth Roberson
Truffaldino – Steven Humes
Brighella – Kevin Conners
The Dancing Master – Christian Baumgärtel
Lackey – Roman Grübner
Naiad – Christina Landshamer
Dryad – Rachel Frenkel
Echo – Lenneke Ruiten

Director & Set Designer – Philippe Arlaud 

Costumes – Andrea Uhmann
Conductor – Christian Thielemann
Staatskapelle Dresden

Having seen The Met’s production of Götterdämmerung, as a HD live transmission a few weeks ago it seemed but a small step to watch a live stream of an opera via my laptop from the comfort of my own home.

It is something I have always considered doing but it wasn’t until I stumbled upon medici.tv that I decided it was time. And it had everything to do with lure of Ariadne auf Naxos from the Festspielhaus, Baden-Baden. Plus the fact that my MacBook Pro has a rather generous screen.

First things first. medici.tv is an exemplary service and technically the live stream was faultless. Good value at about 7€ a per month a quick scan of its catalogue persuaded me to take out a subscription – even if some of the performances and recitals are currently geoblocked in the UK.

However the main driver for watching the performance was Renée Fleming’s role debut as Ariadne/The Prima Donna. And having seen her live as the Marschallin and Madeleine, the Countess in Capriccio she did not disappoint. I have said it before, Renée Fleming is a brilliant Strauss interpreter – his vocal lines suit her perfectly, and over the years her voice has developed an even warmer and burnished tone throughout its range without losing any of its flexibility. Es gibt ein Reich was simply beautiful – and Fleming demonstrated not only the smoothest of legato phrasing but complete control of the dynamic range of the scene with light and dark shading of her voice. However while this was for me the highlight of the evening – when she sang ‘totenreich’ it sent a shiver down my spine – hers was a faultless performance throughout. In particular her final duet with her Bacchus – Robert Dean Smith – was wonderful, again with not even a hint of strain.

I had previously seen Sophie Koch at Covent Garden – first as Octavian and then in her role debut as Brangäne in Loy’s much-maligned – but personally loved – production of Tristan und Isolde. I do hope ROH revive it. As The Composer – looking somewhat like Charlie Chaplin to me – she had a pretty convincing grasp of the taxing vocal line that Strauss had written for the character. However there were times when there was clearly strain at the top of the voice and occasionally a more fluid legato line was wanting. However a strong performance nonetheless.

The surprise of the evening was Jane Archibald’s Zerbinetta. Not only must the soprano who takes on this role be a formidable singer, she must also be a good actor. Ms Archibald had both in spades. Not only did she inhabit the character completely – flirtatious, vivacious and, to me at least, more than a little wise – but she had great stage presence. Even over broadband. And vocally she was impressive. Her performance of Grossmächtige Prinzessin! was not only vocally impressive but intelligently performed. Quite rightly she was applauded at the end of the scena and at the end of the performance.

Similarly it was great to see The Majordomo reprised by René Kollo. Often taken – and usually with great aplomb – by actors Kollo brought his vast experience, including the insight of singing Bacchus himself, to the role. Masterful.

Strauss has never been kind to his tenors. I think of The Emperor in Die Frau ohne Schatten for example, and similarly in Ariadne auf Naxos he doesn’t seem to warm to them much. The vocal line often sits uncomfortably high for many singers but in Baden-Baden Robert Dean Smith acquitted himself brilliantly. Vocally clear and bright his final duet with Ms Fleming was, as I have said already, wonderful. You could almost believe they were wandering off into the sunset.

It’s often easy to forget that – possibly more than his other operas – Ariadne auf Naxos is an ensemble piece from the very beginning. And the ensemble at the Festspielhaus was excellent. However special mention must go to Roman Grübner for his clear voice and slick acting as The Lackey, he three nymphs – Christina Landshamer, Rachel Frenkel and Lenneke Ruiten – and the comedia dell’arte inspired troupe – Nikolay Borchev, Kenneth Roberson, Steven Humes, Kevin Conners as well as Christian Baumgärtel’s Dancing Master.

And what of the production? This is the fourth production I have seen. I’ve watch the Metropolitan Opera production on DVD and many moons ago saw the production at English National Opera in the early 1990s (quite possibly my first exposure to the work as well as to Richard Strauss). More recently I saw the production at Covent Garden complete with its rising floor.

I have to admit I enjoyed the Baden-Baden production. It was unfussy and simple and clearly Phillipe Arlaud was more than inspired, it seemed, by Hollywood. I have already mentioned Koch’s Chaplin-esque Composer but even Renée Fleming had the hint of a 1950s starlet about her. Although her outfit in the Opera reminded me tangentially of two unrelated things. Firstly her look brought to mind Elizabeth Connell who sadly died recently. But also of the costume allegedly worn by Mary, Queen of Scots for her execution – a black gown hiding a Catholic-martyr red dress beneath. And Zerbinetta has something of the Sally Bowles about her.

And clichéd though it might be, the sight of Ariadne and Bacchus walking off into the night was simple and effective.

It all worked and I don’t think Arlaud deserved the boos when he came on stage.

The conductor, Christian Thielemann, is more than an accomplished interpreter of Strauss and he led the Staatskapelle Dresden throughout with great distinction and clear love for the score. And while it might be almost impossible to judge this from a live stream to a laptop, there was clearly a strong connection between the pit and the ensemble on stage.

So a night of firsts. Ms Fleming’s first ever Ariadne, and I hope that one day I will see her perform the role live on stage. For me, my first ever live-to-laptop streaming. And it’s definitely something I will be doing again. I can’t say it will ever replace the thrill, excitement and atmosphere of a live performance but time and money preclude me from attending every thing I might want to see.

And I heartily recommend that everyone sign up for medici.tv.

A great find.

Subitolove

Until I feared I would lose it, I never loved to read. One does not love breathing.

Good Music Speaks

A music blog written by Rich Brown

Kurt Nemes' Classical Music Almanac

(A love affair with music)

Gareth's Culture and Travel Blog

Sharing my cultural and travel experiences

The Oxford Culture Review

"I have nothing to say, and I am saying it" - John Cage

The Passacaglia Test

The provision and purview of classical music

Peter Hoesing

...a musicologist examining diverse artistic media in critical perspective

OBERTO

Oxford Brookes: Exploring Research Trends in Opera