In order to fund the old house’s renovation, the Staatsoper Unter den Linden has programmed a series of concerts to raise money. Taking profit of the opportunity of Plácido Domingo’s baritone venture in Simon Boccanegra, a Wagnerian evening with star soprano Nina Stemme and conductor Daniel Barenboim was organized in the Philharmonie. However, the Swedish soprano fell ill and was replaced at the last minute by a regular in the Lindenoper, mezzo Michaela Schuster, last seen as Ortrud in the première of the new production last April.
However, before these singers could open their mouths, Barenboim treated the audience to a sensational performance of Tristan und Isolde’s Prelude and Liebestod. As in his last performance in the Staatsoper, the conductor indulged in a considerate tempo in order to showcase the orchestra’s sophisticated phrasing, tonal refulgence and clarity. The ensuing Liebestod offered an entirely contrasting approach, almost dance-like, in which the escalating chromatic figures spiralled in clearly defined alternate dynamic effects to breathtaking results.
After a white-heat start, The Valkyrie’s Act I would finally settle into something rather less impressive. Although the orchestra was in great shape, the need to adapt to the soloist’s necessities took its toil in what regards horizontal clarity and pace. Of course, Plácido Domingo’s vocal longevity is a marvel. The tone is certainly darker these days, but the sound is still fresh. However, the tenor needed some time to prepare for his ascent to top notes or for fast declamatory passages, forcing the conductor to step on the break pedal, for the loss of fluency sometimes. That said, he seemed far more comfortable than last time I heard him as Siegmund at the Gala concert in Munich with Waltraud Meier some two or three years ago. A colleague from the Staatsoper’s Noccanegra, Kwangchul Youn was in great voice, producing some powerful sounds as Hunding.
Michaela Schuster deserves a paragraph for herself. I have seen her only twice as Ortrud, both in Berlin and Munich, and have found her vocally no more than efficient, but tonight, in this soprano role, I was able to understand more about her voice. Free from the burden of sounding formidable and dramatic, one can see the naturally lighter hue of her voice, which is surprisingly pleasant, soft and bright. I could imagine that she would be a touching in French roles such as Charlotte or Didon. In her more relaxed self, she floats lovely mezza voce and phrases with authentic legato. When things start to get too “Wagnerian”, the usual harsh quality comes unfortunately about. Of course, when the phrase is congenial she produces some firm big acuti, but generally she attacks them in a strangely backwards placement only to focus them a few seconds later. In order to accomodate her, the conductor had often to kept the orchestra’s enthusiasm on a leash. But that is all secondary when one considers her highly expressive interpretation. Crystal-clear diction, the wide tonal palette of a Lieder singer and a highly alert and imaginative way of colouring the text. Some moments of her performance were original and illuminating even in comparison with some very famous Sieglindes. I really wish she would give her Ortruds and Kundrys a rest and made better use of her talent for subtlety for more than a change.