Back to the Lindenoper’s recreation of the historic (and historical) Schinkel production, I can now report a little bit more enchantment because this time I had a parterre ticket. When you have a frontal view of the stage, the cardboard sets do work to the right effect and the fun is not spoilt by the view of poles, sticks and ropes behind the scene by those seated in upper levels or on the side. Still, the production is already old and desperately cries for a new process of stage rehearsals. Some scenes look messy, some change of sets verge on catastrophical. Worse: since gestures and movements were blocked looong time ago (with other singers), many scenes look either mechanical or, when they are not, it is because singers are indulging in a series of ad libs (that finally bring some freshness to the proceedings, it must be said).
The messy impression is not only a result of what one saw on stage, but also of what one heard from the pit. After an overture from hell, when everything was poorly synchronized, blurred and noisy, conductor Dan Ettinger tried during the whole evening to set pace, without really ever succeeding. Some serious mismatches in key moments abounded and attempts to generate some energy finally resulted in loud orchestra covering soloists. The side effect was some stretches of unsubtle singing by some members of the cast.
Adriane Queiroz was an unusually rich-toned Pamina whose approach has its heavy-footed moments, but who finally beguiled the audience with an expressive account of Ach, ich fühl’s in which she proved her ability to spin seamless legato. Her Pamina has also more attitude than we are used to see – and that worked to good effect in her “attempted suicide” scene. Sen Guo has no problem with high staccato and in alt notes, but she was ill at ease with everything else. Her first aria displayed rather arthritic coloratura and unfocused low register, problems less evident in Der Hölle Rache. She has clear German, but must work on her body expression, which is rather mute. I wonder if Martin Homrich should sing Mozart – one can see he knows what Mozartian singing should be, but it comes so unnaturally to him that his singing sounded constantly graceless, laborious and not truly on pitch. When it comes to Roman Trekel’s Papageno, it is true that his phrasing was almost unvariably rough, but the roughness was part of his overall concept of a boorish yet likeable Papageno. In the end, even if Mozartian grace should take some part in it, he was probably one of the less nonsensical Papagenos I have ever seen. I have saved the best for last – I have seen René Pape’s Sarastro in different occasions at the Metropolitan Opera House, but somehow found him too chic for the circumstances. Not this evening – he sang with such depth of expression, naturalness and intelligence that the role of Sarastro acquired a rarely seen three-dimensionality. His In diesen heil’gen Hallen was full of unforced emotion and one could have the sensation that time stood still while he sang it.