Thursday 23rd at 8pm, Karina Gauvin is performing with Tafelmusik at Koerner Hall in a concert called The Baroque Diva. Details are here. This will be repeated on Friday and Saturday evenings and on Sunday at 3.30pm. Sunday at 3.30pm Voicebox are presenting Mussorgsky’s Khovanshchina. I’m not sure where it will fall on the semi-staged to concert spectrum but it’s definitely piano accompaniment (Narmina Afandiyeva) and the cast is headed up by Andrey Andreychik. This is a piece that played in full runs over three hours so it will be interesting to see what they choose to include, or not.
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.
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.
Every few years the Salzburg Festival replaces the productions of the three Mozart/da Ponte collaborations with new productions. At least in recent years they have entrusted all three to the same director but the “refresh” happens in different years and not always in the same order. I reviewed Claus Guth’s offerings here (Le nozze di Figaro, 2006; Don Giovanni, 2008; Così fan tutte, 2009) and noted the way that certain linking elements developed over the course of the “cycle”. I was interested to see whether the same thing held for the newest iteration by Sven-Eric Bechtolf. All three have now been released on Blu-ray (though due to availability issues I have the Così on DVD) so I thought I should watch them in the order they appeared at the festival and see what transpires. So here we go with Così fan tutte recorded in 2013 in the Haus für Mozart.
Last night saw the Ensemble Studio’s big main stage performance. Rather than perform one of the COC’s current productions (hard to imagine how they could cast one from the current line up) we got scenes from three operas; two of them from the COC’s current season. They were performed with the orchestra on stage in front of the backdrop to the opening scene from the current Die Zauberflöte and in concert dress rather than costume (more or less, there were some nods to the roles in question) and with some blocking as far as limiting movement to the front of the stage permitted.
Yesterday at noon Ileana Montalbetti, currently appearing in the COC’s Götterdämmerung and pianist Rachel Andrist gave a recital in the RBA. It was five years to the day since they last performed together in that space. Then she was a promising young singer, now she comes over as a considerable interpretative artist. The voice is even bigger (and for a piano recital in the small and not very friendly to dramatic sopranos RBA(*) that was a bit of a challenge) but what’s notable is how much more drama and meaning there is in each number.
Last night I saw the alternate cast of the COC’s Magic Flute. Owen McCausland swaps First Armed Man for Tamino with Andrew Haji, Kirsten MacKinnon comes in as Pamina, Phillip Addis is Papageno and Matt Boehler is Sarastro. The changes don’t really affect things much at all. All the new faces are very good. MacKinnon is a very perky Pamina which works well with Addis who has maybe a bit more of the “cheeky chappy” than Hopkins. Fans of Owen McCausland and Andrew Haji will see exactly the differences in timbre and vocal technique one would expect but the interpretation is pretty much the same. Overall, I would say that someone not very familiar with these singers would scarcely notice any differences. What I did notice is how much better this production looks from Ring 3 than from the Orchestra. Getting something of a “plan view” makes the antics during the overture look less cluttered and frantic and the trials scene is much more effective. And the sound is better too.
Photos by Michael Cooper under the fold. Continue reading