Netrebko’s Manon

manonlescautNot too many CDs of new opera recordings, at least of mainstream repertoire, come my way these days.  Studio recordings have become rare and the usual medium is a video recording, itself a spin off from a live broadcast; TV, cinema or web, of a live performance.  This makes sense to me.  Just listening to an opera has always seemed a second best.  Anyway, that’s all by way of saying that I was a bit surprised to find myself listening to a CD edition of a live recording of Puccini’s Manon Lescaut from the 2016 Salzburg Festival.  How did this recording happen you ask?  The answer is on the box, where Anna Netrebko in the title role, gets top billing, even over the composer.

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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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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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A new Salzburg da Ponte cycle – Così fan tutte

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.

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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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All the Mozart

dg0743902Deutsche Grammophon have re-released the Mozart M22 recordings in a new edition.  It contains all the operas, singspiels and other bits and pieces mostly recorded at Salzburg in 2006.  The whole thing comes to 33 DVDs recorded in HD and with 5.1 surround sound.  It’s also incredibly cheap.  Amazon.ca has it listed at C$139.99 including shipping.  Full details are available on the Presto Classical site which is likely a good source for UK buyers but others might want to watch the postage charges on this one!  The set includes some fine productions including Kušej’s Don Giovanni and La clemenza di Tito and Guth’s Le nozze di Figaro.  It’s also still currently the only way of getting hold of Herheim’s notorious Die Entführung aus dem Serail which has been out of the catalogue for ages and still isn’t available separately.  The only drawbacks I can see are that many collectors will already have many of these discs and it’s only available on DVD rather than Blu-ray (but most of these recordings never did make it to Blu-ray).  It would make a great Christmas present for someone starting an opera DVD collection.

Abstract Fidelio

Fidelio is an interesting piece.  The music is great and it has a powerful, very straightforward, plot.  There are no convoluted subplots here.  But there is a lot of spoken dialogue which slows things down.  Is it necessary?  Claus Guth doesn’t think so and in his 2015 Salzburg production he replaces the dialogue with ambient noise and also doubles up Leonora and Don Pizarro with silent actor “shadows”; the former using sign language in the manner of the narrator character in Guth’s Messiah.  It works remarkably well.  The ambient noise sections are quite disturbing and the “shadows” add some depth, especially the frantic signing in the final scene.  Perhaps worth noting that the “noise” contains a lot of very low bass and precise spatial location.  It may need a pretty good sound system to have the intended effect.

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