Daniele Abbado’s production of Verdi’s Nabucco, recorded at Covent Garden in 2013 was the vehicle for Placido Domingo taking on yet another Verdi baritone role. It’s set in the 1940’s because, Jews. At least it’s costumed that way because nothing else about the production has any kind of sense of time or place. It’s virtually monochrome and quite abstract. The Temple is represented by a set of upright rectangular blocks which are toppled at the appropriate moment. The idol of Baal is a sort of wire frame that comes apart rather undramatically and so on. There’s also nothing in the direction to suggest any kind of concept. It’s quite straightforward with rather a lot of “park and bark”. There’s some use of video projections behind and above the action but it’s rather hard to figure them out on video as they tend to appear in shot rather fleetingly.
It’s an odd quirk of opera broadcasting that relatively few video recordings of operas get made in North America and those that do are almost all recorded at the Met. This means that works that are standard rep on the west side of the pond but rarer in Europe may be very slow to get a video release, if they get one at all. Now Carlisle Floyd’s Susannah is just such a work. It’s the second most performed US opera after Porgy and Bess but has only just appeared on video for the first time.
I’m never quite sure what I think about large scale outdoor opera performances but the Macerata Opera festival’s 2016 production of Verdi’s Otello staged in the Arena Sferisterio comes over rather well on video. It’s a complete contrast with the Salzburg production I reviewed a few days ago. This is large scale “red in tooth and claw” Verdi. There is none of the subtlety of the Salzburg performances but it is spectacular and quite exciting.
What’s become of David McVicar? His 2015 production of Giodarno’s Andrea Chénier for the Royal Opera House seems typical of his recent work. It looks expensive. It features a starry cast. He flirts with dramatic risk but in the last analysis it comes off as a bit tame and even sloppy. Basically when the principals are at the centre of the drama it’s compelling stuff but when they are not it’s not and there are curious inconsistencies.
sVincent Brossard’s production of Verdi’s Otello for the 2016 Salzburg Easter Festival is both elegant and subtle; the latter quality being backed up by superb singing and acting from the principals. In many ways the production is clean and straightforward with a focus on character development but it also makes use of elegant lines and sharply contrasting darks and lights in creating the stage picture. There’s also a really cool use of mirrors during Già nella notte densa that I can’t quite figure out.
Schoenberg’s Moses und Aron is a very peculiar opera. It’s pretty much an extended debate about the nature of God cast in highly abstract terms. So who better to direct it than the almost unbearably cerebral Romeo Castellucci. Previous encounters with his work have been puzzling, thought provoking (and WTF provoking) but never dull. All those terms could be deployed to describe the production recorded at L’Opéra nationale de Paris in 2015.
Once in a while one comes across a disk that sounds like it could be interesting but turns out to be a bit of a bust. That was certainly my experience with the recording of Mozart’s Davide penitente recorded in Salzburg during Mozart Week in 2015. On the face of it using the Felsenreitschule for something like its original purpose isn’t such a bad idea and the idea of choreographed horse “ballet” to a Mozart cantata is quite intriguing. On the face of it…