Arabella with Fleming and Hampson

Thomas Hampson and Renée Fleming teamed up for Strauss’ Arabella at the 2014 Salzburg Osterfestspiel.  The production is directed by Florentine Klepper and it’s set late 19th/early 20th century and is conventional in many ways though there are a few interesting touches.  There may be more than a few but video director Brian Large focusses quite relentlessly on the singers 99% of the time so it’s hard to tell.  I noticed a few things.  The hotel set in Act 1 is multi-room but it’s very rare that we see other than the room the principal action is in so who knows what might have been going on.  There’s a use of body doubles during the Act 2 duet to create a sort of “portrait” of Mandryka and Arabella that broods over the stage for the rest of the act.  The fortune teller reappears with the “trouble” card during the “key” scene.  The whole Fiakermilli episode is difficult to interpret because the video gives such a fragmentary view of it.  There’s certainly a couple of suggestive giant dolls.  Otherwise this scene just comes off as pretty crude and lame.  I suspect that there may be much going on here that isn’t on the video.  This all tends to reinforce the weaknesses of the second half of Act 2 and the start of Act 3 which certainly are not Strauss and von Hofmannsthal’s best work.

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Kaufmann’s Cav and Pag

Jonas Kaufmann made a double role debut as Turiddu and Canio in the classic verismo double bill of Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci at the Salzbur gEaster Festival in 2015,  The productions were directed by Philipp Stölzl and Christian Thielemann conducted with the Staatskapelle Dresden in the pit.

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Gruberova as Lucrezia

Edita Gruberova in recent years has pretty much cut her repertoire down to a handful of bel canto roles; Elisabetta in Roberto Devereux  and the title roles in Anna Bolena, La Straniera, Norma and Lucrezia Borgia.  The last of these was recorded in Munich in 2009 in a production by Christof Loy for the Bayerisches Staatsoper.  It shows that Gruberova still very much at the height of her powers but the production is less satisfactory.

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It’s in the blood

I guess previous times I’ve seen Janáček’s Jenůfa I haven’t really noticed the role that the idea of “bad blood” or inherited depravity plays in the plot but it’s there almost as starkly as in certain works by Zola and Buchan.  Perhaps one of the strengths of Christof Loy’s very clean 2014 production for the Deutsche Oper is that it tends to show up such details.  It’s certainly a very low key setting.  All the action takes place in a plain white room with minimal furnishing.  Costuming is modern (sort of); maybe 1950s or so.  Sometimes one gets a hint of rather more going on on the edge of the stage but Brian Large’s typically close up video direction makes it hard to be sure.  So, at least on disk, it’s all about the characters and their interactions and they are drawn pretty clearly.

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Another cinema experiment

Last night I ventured forth to experience another way of presenting “opera” at the cinema.  It was a film called Jonas Kaufmann – An evening with Puccini and was based around a recording of a concert Herr Kaufmann gave at La Scala last year with the Filarmonica della Scala conducted by Jochen Rieder.  The full program is here.

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The ur Nixon

1.maoI found it a bit shocking that John Adam’s Nixon in China wasn’t released on DVD until after the MetHD broadcast in 2011.  I was even more shocked when I found out that the original 1987 Houston production had been recorded and broadcast on PBS.  Just recently, thanks to a kind reader of this blog, I’ve been able to watch that original broadcast.  It’s TV from 1988 recorded on VHS and then digitized so the picture quality isn’t state of the art but the sound is surprisingly good. Continue reading

The Solti show

The recording of Richard Strauss’ Die Frau ohne Schatten made at the Salzburg Festival in 1992 is very much Sir Georg Solti’s show.  The conducting is superb and the Vienna Philharmonic, of course, respond for Solti.  From the opening, shattering cords through the various orchestral interludes to the final ensemble and chorus Solti is utterly convincing in his command of tempi and dynamics.

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