Tell stripped of Romanticism

Damiano Michieletto’s production of Rossini’s Guillaume Tell at the Royal Opera House in 2015 was controversial because of the replacement of the Act 3 scene where Austrian soldiers force Swiss girls to dance with them with something far more explicit.  It is a tough scene to watch but it’s absolutely consistent with a very thoughtful overall approach to the piece.  After all what do occupying troops do with village girls?  The director, rightly I think, sees the piece as being about the brutality of military occupation and colonialism but also recognises that the Tell legend, especially in its Schiller version is overlaid with euphemising Romanticism.  Michieletto’s production both strips away and draws attention to the Romanticisation.  He sets the piece in a roughly contemporary setting.  To me, the civilians look 1950s but Gesler’s men look more modern.  The actual action is played out unsentimentally, indeed brutally, in this time period.  The ballets, one of the principal euphemising agents, are all replaced by more realistic action.  To draw attention to how the legend has been transmitted two devices are introduced.  Tell’s son Jemmy has a comic book version of Schiller which he consults at key points and there’s a silent character; medieval Tell, straight out of the legend with feathered cap etc who appears whenever the morale of actual Tell or the Swiss in general needs a boost.  It sounds a bit corny but it really does the job.

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Patchy Andrea Chénier

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.

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Hands on Figaro

In the booklet accompanying David McVicar’s production of Le nozze di Figaro, recorded at the Royal Opera house in 2006, there’s an essay by the director in which he raises all kinds of questions about the rise of the bourgeoisie, the nature of revolution and romantic conceptions of love.  He even appears to draw a parallel between Joseph II and Tony Blair. Then he declines to explain how he has embodied all these ideas on the stage and challenges us to “Watch, listen, participate”.  Well I did and I’m none the wiser.  What I see her is an essentially traditional approach; transferred cosmetically to 1830s France but so what?  It’s darker than some Figaro’s but not nearly as dark as, say, Guth.  Curiously, the main “extra” on the disks “Stage directions encoded in the music” tees this up much more clearly than the essay.

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Fatal attraction

Kasper Holten’s Royal Opera House production of Don Giovanni, seen in cinemas, is now available on DVD and Blu-ray.  It’s a visually and dramatically complex production so it’s probably as well that there’s plenty of explanatory material on the disks and in the booklet.  Es Devlin’s set is a two storey structure that rotates and serves as a screen for a heavy use of video projections by Luke Halls.  These start wth the 2065 names of the women Don Giovanni has seduced and seem to be mostly about what’s going on in Don Giovanni’s head.  The sequence during Fin ch’han dal vino calda la testa is particularly spectacular.

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Ballet/Opera Fusion

Handel’s Acis and Galatea is a peculiar piece in some ways.  It was written to be performed at Cannon’s, the Edgware residence of the then Earl of Caernavon, presumably for his guests.  Apparently the performance style was to have the singers sing from music stands in front of a painted backdrop.  So, a sort of oratorio with curtains.  It’s not uncommon to stage Handel oratorios as opera these days.  Theodora is done quite often and even Messiah has been staged so it’s no great surprise that Acis and Galatea should be given a similar treatment.  In fact Wayne McGregor’s 2009 Covent Garden production stages it as an opera and a ballet simultaneously combining the resources of the Royal Ballet and the Royal Opera.

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Zambello’s Carmen

Francesca Zambello’s Carmen for the Royal Opera House has more going for it than is immediately apparent.  On the face of it it’s a very traditional, conservative production; period costumes, literal sets, hordes of kids in Acts 1 and 4, live animals, but a close look reveals rather more.  Zambello reveals her intentions during the overture where we see a manacled, distraught Don José dragged to execution by a masked executioner.  This is going to be Don José’s story rather than one that focuses almost exclusively on the title character.  What we see here is a stark contrast between what Don José really wants; respectability, an obedient wife, conformity with the Church, honour and what key choices, accidents and conflicts drive him to; criminality, liminality, execution and, we may suppose, damnation.  The staging subtly highlights each of the key moments in Don José’s descent; his arrest and demotion in Act1, the fight with Zuniga in Act 2 and the realisation, in Act 3, that Carmen will never be the women he really wants reinforced by Micaëla’s aria that ironically offers him the choice he can no longer make and does so unmistakeably in terms of Catholic eschatology.  There is so much more going on here than a sexy woman and some pretty tunes.

The cast is stellar.  Anna Caterina Antonacci is a pretty spectacular Carmen.  She’s a very accomplished singer but it’s her acting that shines here.  She steers a very fine line just short of playing Carmen as a complete slut. Like many things in this production, it’s a detail that makes the difference.  Jonas Kaufmann sings Don José.  He starts off very prim and proper, almost coy, becoming wilder as the piece progresses.  This is signified not just by his acting and vocal style but also by a progressively degenerate hair cut.  It scarcely needs saying that he sings very well.  He has beautiful high notes coupled with a rather baritonal lower register.  It’s not a classic opéra comique voice but it’s lovely to listen to.  The rest of the casting is in the luxury bracket too.  Ildebrando d’Arcangelo is a sinewy, almost rough voiced Escamillo but he oozes testosterone and totally commands the stage.  The chemistry between him and Antonacci in Votre toast, je peux vous le rendre is very strong.  Norah Amsellem is perhaps a bit mature sounding for Micaëla but she sings and acts extremely well.  Her big number in Act 3 is brought off very well indeed.  Matthew Rose is a bluff straightforward Zuniga and in a final bit of luxury casting Jacques Imbrailo plays the rather small role of Moralès.  The orchestra, conducted by Tony Pappano, plays rather suavely though not without vigour.  The overture is so loud I initially thought I had my volume levels set wrong!  So, musically excellent across the board though in my ideal world there would be more difference in tone colour between Carmen and Micaëla.

The video direction is by Jonathan Haswell.  It’s OK but not great.  He’s good in the big crowd scenes, letting us see what is going on but gets some nasty attacks of closeupitis later in the piece.  The knife fight between Escamillo and Don José is particularly distracting.  There’s no real excuse as the stage set isn’t huge and he’s got an excellent 1080i picture to work with.  The sound options on Blu-ray are PCM stereo and DTS-HD Master Audio 5.1.  On the surround track the voices are balanced well forward but it’s quite vivid, if not quite as spectacular as recent PCM 5.0 releases.  I think that uncompressed, unprocessed audio will likely become the norm on Blu-ray in the opera market.  There are English, French, Spanish, german and Chinese subtitles and a booklet with a short essay, track listing and synopsis.  There are no extras.

Here’s the final scene of Act 3 as a sampler:

This production, with a different cast, is also available as a 3-D Blu-ray disk (for all those opera fans with 3-D capability at home?!?).  That version features Christine Rice and Brian Hymel.  I haven’t seen the disk but I did review the cinema release about a year ago. The only advantage it offers is the contrast of a genuine mezzo as Carmen and a lighter soprano as Micaëla.