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Posts Tagged ‘Sophie Koch’

Otto Schenk’s production of R. Strauss’s Der Rosenkavalier is probably by now listed in Frommer’s and TimeOut as one of Munich’s historical attractions: it was first shown in 1972 and made famous in Carlos Kleiber’s DVD with Gwyneth Jones, Brigitte Fassbaender and Lucia Popp. I can understand the Bavarian Opera’s unwillingness to part with it – it is an expensive staging that is still very popular. The sets to the second act were received by applause, something I had never seen in Germany before.  In any case, having seen the DVD does not mean that you’ll know beforehand what you are going to see. The new cast has brought it’s own contribution under a Spielleitung that responds to contemporary tastes rather than those of 1972.

Anja Harteros, for example, is a far more sensuous and less pensive Marschallin then Gwyneth Jones in the video. Her lighter approach is coherent with what Strauss himself expected in this role. She was, of course, born to sing it: she has the looks, the attitude and the voice. Her rich soprano finds no difficulties in the often low-lying declamatory passages, expands effortlessly in its higher reaches (exemplary contribution to the closing trio) and takes easily to mezza voce. She took a while to warm and only sounded her full-toned self by the beginning of her monologue. Although her diction is very, very clear and, being herself German, is usually spontaneous in her delivery of the text, I had the impression that she – very understandably – is still finding her way in this role. In many a key moment, she would opt for a studied, ready-made inflection borrowed from her famous predecessors in the role rather than trusting her own instincts. In these moments, her Marschallin invariably sounded uninvolved. But don’t mistake my words: if I make these observations, it is precisely because Harteros is on her way to becoming the leading Marschallin of her generation. If she is not that yet, the good news are that she is going to be even better in the future!

On the other hand, Sophie Koch is by now an experienced Octavian who knows exactly where her strengths are. Her creamy mezzo has the necessary brightness to pierce through, her passaggio is very smooth, she avoids pushing and can spin some forceful high notes and beautiful pianissimo. She is only tested when the tessitura remains too long in the soprano area. Even then, she acquits herself quite commendably. I like her stage performance as well; she knows how to play boyishness without making a charicature of it and how to seem aristocratic without seeming mature. She handles the physical comedy without overindulging herself too.

Lucy Crowe too is a convincing Sophie – she has the physique and finds the right balance between darlingness and purpose. Her soprano is a bit more substantial than usual in this part, but she can sound edgy and her cleanly attacked and floating high pianissimi sometimes develop a light, but noticeable beat. The other Briton in the cast, Peter Rose has the required low notes and clear articulation for the Baron Ochs. He is an excellent comedy actor too and can find a patrician note in an otherwise rustic character. I saw him in this role in 2003 at the Met, when he was more restrained with his ad libs and funny touches. At any rate, he has enough charisma to pull this out and certainly is one of the best exponents of this role in our days.

Conductor Constantin Trinks drew rich, warm sounds from the Bavarian State Orchestra without forgetting structural clarity; the prelude to act III was particularly clean – but had problems to find the right balance between pit and stage, often drowning his singers. In the more intimate passages, he gave the impression of being reined in and without ideas, while complex ensembles, especially those involving Ochs, were often messy.

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Massenet’s Werther is hardly anyone’s favorite opera. Many dismiss it with the label “tacky” – and truth is that, were it not for the fancy of some star tenors, it would not be produced at all. All that said, the whole French repertoire has been rediscovered – even in France – and Werther, thanks to the advocacy of tenors like Roberto Alagna, Ramón Vargas, Marcelo Álvarez and Jonas Kaufmann, has mushroomed in the seasons of many opera houses.

This does not mean these tenors had to start over from a forgotten tradition. On the contrary, almost every important French tenor has left a recording – and even a secondary tradition of Spanish tenors such as Kraus, Carreras and Domingo may be traced back in the discography. Although Rolando Villazón’s French is quite more realistic than many Spanish-speaking Werthers, I would have no doubt in placing him among the Spaniards, for his emotionalism and fervor. I had seen Villazón only once as Lensky in the Lindenoper in Achim Freyer’s infamous production that makes any possibility of acting impossible. This evening, I could understand the Mexican tenor’s artistry. Guided by unbridled emotional generosity, he plunged into the predicaments of the young Werther with almost ferocious intensity. What in less sincere hands could sound and look exaggerated seems vehement, intense and very moving. He drives his lightweight yet rich and dark-hued tenor dangerously hardly, but the tonal quality is dulcet, the coloring is varied, the inflections are expressively drawn and the commitment is enormous. By the end, few eyes were still dry. Indeed, Villazón is a very special singer.

His Charlotte, Sophie Koch, has an ideal voice for the role. It is vibrant, full-toned and large enough, but still light enough to suggest youth. Act III maybe took her to her limits, but her adeptly focused high notes survived the test. Although she started the evening a bit too cool for the circumstances, she increasingly gained in pathos during the evening and almost matched the tenor in intensity by act III. Audun Iversen (Albert) has a noble and large voice, a little bit wooden in the end of the range, but even that worked out well for the role. He only seemed uncomfortable on stage. On the other hand, the bell-toned Eri Nakamura wad a vivacious and sensitive Sophie. Last but not least, Alain Vernhes was a congenial Bailli.

I am hardly a specialist in Massenet’s music, but I have found Antonio Pappano’s conducting very convincing in its large, late Romantic gestures. Act III sounded almost Tristanesque in its richness of sound, flexibility of beat and forcefulness of accent.

In the days of Regietheater, Benoît Jacquot’s 2004 production might seem unimaginative in its historical propriety and unobstructive concept, but his meticulous direction of actors (as revived by Andrew Sinclair) is immensely refreshing; the level of dramatic engagement achieved here unfortunately rarely found in operatic stages. Although acts I and II could feature more interesting sets, acts III and IV found inspiration in Hammershøi and looked beautiful and expressive. I just wished each character had been allowed more than one costume during the whole opera.

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