The other Otello

Just as Rossini’s version of Il barbiere di Siviglia completely eclipsed Paisiello’s version, so Verdi’s Otello sounded the death knell for an earlier version; ironically enough by Rossini.  It’s a bit surprising as the Rossini version is not bad at all despite having a rather patchy libretto and being hard to cast.  The first thing one notices is that the story isn’t even close to Shakespeare/Verdi.  This is because the libretto was based on a French play by Jean-François Ducis that was popular in the 18th century.  I don’t know whether the plot’s weaknesses are due to Ducis or the librettist but there are a few.  There’s no Cassio so the motivation for Jago’s plotting is unclear.  All the Venetian notables (bar perhaps the Doge) hate Otello but Jago doesn’t seem to have any special reason for animosity.  Between the end of Act 2 and the beginning of Act 3 Otello is exiled.  There is no explanation.  The finale is abrupt and weak.  Immediately after Otello kills Desdemona the gang of notables burst in to the room and appear to be completely reconciled to Otello and to him marrying Desdemona, despite having spent the rest of the opera chewing chips about this.  In fact one could argue that the happy ending variant (yes, there was one) is the more plausible as it would only take the guys to arrive about ten bars sooner for that to be the logical outcome.  As it is, Otello listens with incredulity to the change of heart and, not unreasonably, kills himself.

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Completing the Bechtolf trifecta – Le nozze di Figaro

Sven-Eric Bechtolf’s stagings of the Mozart/da Ponte operas in Salzburg concluded in 2015 with Le nozze di Figaro.  I think it’s the most successful of the three.  Bechtolf’s strengths lie in detailed direction of the action rather than bold conceptual statements and Nozze is probably the least in need of, and the least amenable to, the big Konzept.  There aren’t any real dramaturgical problems to solve.  It just works as written.  I don’t think that’s so true for Don Giovanni or Così.

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Bechtolf Round Two – Don Giovanni

Sven-Eric Bechtolf’s second Mozart/daPonte for Salzburg was Don Giovanni which premiered in 2014.  There are some similarities with his Così fan tutte.  He uses a symmetrical unit set again and shows a fondness for creating symmetrical tableaux vivants but there the similarities pretty much end.  I could find a consistent, believable set of humans in Così but not so much in Don Giovanni.  The problem is really the man himself.  Bechtolf, in his notes, seems to be arguing that Don Giovanni can make no sense in an age of pervasive accessibility and exposure to all things sexual.  Da Ponte’s Don requires a climate of sexual repression for his essence; to Bechtolf a kind of Dionysian force (he cites Kierkegaard), to make any sense as a human.  I think I get that but then, I think, the challenge becomes to create a Don Giovanni who does make sense to a 21st century audience as, in their different ways, do Guth and Tcherniakov.  Bechtolf seems to treat the character not so much as a human rather than as a kind of energy focus who exists by igniting aspects of the other characters; whether that’s lust or jealousy or hatred.  He caps off this idea at the end by having Don Giovanni reappear during the final ensemble as a kind of mischievous presence still chasing anything in a skirt, even if it’s, perhaps, from another world.  It’s an idea that I could not really buy into.

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Moors and Christians

Schubert could write great melodies and he had a real affinity for the voice so one might expect him to have been successful when he turned his hand to opera.  He wasn’t with Fierrabras which wasn’t performed until decades after his death and has been revived seldom since, most recently at Salzburg in 2014 where it was recorded. It’s easy to see why.  The libretto is awful and even if the music were really amazing, which it isn’t but more of that later, I doubt it would have made much impact.

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La fuga in maschera

I find it interesting the way some opera composers become canonical to the point where their most unsuccessful (often deservedly so) works still get produced while others, equally famous in their day, disappear pretty much entirely.  One of the latter group is Gaspare Spontini who had a long career stretching from the the late 18th into the middle of the 19th centuries during which he was active in Italy, Paris, Vienna and Germany.  There was a revival of his La Vestale at La Scala with Visconti directing and Callas in the title role but otherwise the 20th century pretty much ignored him.  So obscure had he become that the Wikipedia entry for his operas describes his La fuga in maschera as “genre unknown”.  Perhaps that’s not so surprising as the work was last performed in 1800 and the score was thought to be lost until it turned up in an English bookshop in 2007.  Subsequently it was performed in 2012 at the Teatro GB Pergolesi in Jesi as part of the Festival Pergolesi Spontini.

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Freudian Elektra

Patrice Chéreau’s last major opera production was of Strauss’ Elektra for the 2013 Aix-en-Provence Festival where it was recorded.  It later appeared with a different cast at the Met and was broadcast in HD but that performance has not yet been released on disk.  It’s a very good example of Chéreau’s work.  The towering, blocky sets recall his From the House of the Dead and are equally dark and grey.  The interest is all in the characters.

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The Merchant of Venice

André Tchaikowsky’s The Merchant of Venice was written in the years leading up to his premature death in 1982 but, despite interest from ENO in the 1980s, it did not get a full performance until David Pountney decided to stage it at the the 2013 Bregenz Festival with Keith Warner directing.  It’s hard to explain the neglect though Pountney ascribes it some degree as the fate of the emigré  (the composer being a Polish Jew domiciled in the UK).  The Merchant of Venice is a really solid piece.  It’s got all the elements; a strong story, a really interesting but not overly intimidating score and really good writing for voice (it really is singable).  It’s the right length at around two and a half hours and it doesn’t call for unreasonable orchestral or vocal forces.  John O’Brien’s libretto even manages to overcome some of the objections to staging Shakespeare’s play.  While one might consider the Shakespeare piece to be antisemitic, O’Brien’s libretto is much more clearly about anti-semitism.  There’s also a clear homoerotic element in the Antonio – Bassanio relationship and perhaps too in Portia – Nerissa.

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