If someone actually paid me to write in this blog, I would say that the text I am about to write was written for the money. On writing about Verdi’s Il Trovatore, everybody quotes Caruso’s famous line that says that all you need are the four greatest singers in the world. And I won’t make an exception – I have just quoted it! – and that is why I feel it is somehow unfair to say that this tenor or that soprano had their share of shortcomings in a work in which almost everybody – even the greatest ones – has their shares of shortcomings. But I thought that Cavalier is such a faithful reader and that he would like to read it – so here it goes. This evening, the Deutsche Oper offered the first of two concerts featuring Verdi’s rawest and earthiest opera. Although the score is often laughed at as simplistic (“big guitar” is the expression often used), it is quite puzzling how the results are rarely effective live. It is raw music, with violent percussive use of the orchestra, vertiginous rhythms and exciting ensembles with glittering effects, especially in the violins. The use of the word “glittering” is not accidental – you just need to listen to the last scene in act I in Karajan’s eccentric 1977 studio recording to see how the Berliner Philharmonic is at its brightest-sounding, its violins gleaming upfront along with singers, exactly as La Scala’s orchestra had in Karajan’s 1956 mono recording with Maria Callas. The Deutsche Oper Orchestra is, of course, typically German in sound and is always at its best in Wagner. But under the right guidance, these musicians can get into cisalpine mood with the extra richness and roundness reserved for key moments. Not this evening, I am afraid. Although young conductor Andrea Battistoni is indeed Italian, he certainly did not inspire his musicians to make the southbound “spiritual” journey. I have to confess that I have never heard this orchestra so colorless in sound as this evening. The maestro jumped, gesticulated, moved about his arms and I could see no difference in animation, dynamic or intensity as a result. The powerful climaxes sounded just loud, the fast tempi mechanical, the frisson left to imagination. Battistoni is keen on keeping things a tempo – which is probably the right choice for this music – but if you are not breathing with your singers, the effect is just straight-laced and spasmodic. The chorus had sometimes problem with following his beat in tricky passages (the stretta of the opening bass aria, for example) and his soloists often had a could-you-please-give-me-some-time? expression on their faces. It had been a while since I last saw a conductor booed at the Bismarckstraße (differently from directors, who are almost always booed there), but this evening those were not isolated manifestations of displeasure.
This evening’s selling feature was probably Anja Harteros’s Leonora. Like everybody who has ears, I am an admirer of this German soprano – especially when she is singing German repertoire. The fact that hers is not an Italianate voice could be called secondary in a role where one is just happy to find someone who can actually do this music justice. Would you call Leontyne Price’s tonal quality Italianate, for example? If I had to say “yes” or “no”, I would say that Harteros was a successful Leonora – her voice is big, warm and homogeneous, she can trill, phrases with utmost sensitivity and good taste, has listened to her Callas CDs and did not seem desperate with what she has to do. But still the style doesn’t come very naturally to her. Her interpretation is often too “intellectual” in approach (as opposed to “emotional”), her “Italianate” effects sound a bit calculated and she doesn’t do low register Italian way. Moreover, I would say she was not at her best this evening: she worked hard for mezza voce and was sometimes a bit flat. Writing all this is a bit embarrassing – she was probably better than any other Leonora one would find in big opera houses today, but still a singer of her caliber should always be compared with the very best. And I mean it as a sign of respect. If I have to keep a souvenir of her performance this evening, this would be her direct, touching, heartfelt Miserere – her Mozartian background used to the best effect in purity of line and sincerity of expression.
Stephanie Blythe had been originally announced as this evening’s Azucena, but was later replaced by Dolora Zajick. It was very heartwarming to see how Harteros made a point on showing deference to this almost legendary Verdian mezzo-soprano (and how gracefully Zajick received it and made a point of acting likewise). If you think of how long she has been singing these impossibly difficult Verdi roles in some of the world’s leading opera houses, one must acknowledge her abilities. At this point of her career, her voice is “merely” very, very big (compared as to how gigantic it used to be, say, 10 years ago), her middle-register has recessed a bit and become sometimes rather nasal and her vowels are now and then unclear. But, whenever things become really testing, she is still admirable – she tries every trill, never recoils from singing piano, ventured into her optional high note in the act II duet with Manrico, you name it. I had seen her sing this role at the Met in a day in which she was not truly in the mood, but this evening – without costumes and scenery – she simply lived through Azucena’s predicaments, the character’s conflicts all clearly presented. And, God, her “sei vendicata, o Madre!” was dramatically, vocally, spiritually (choose an adverb and fill in the blanks here) thrilling. She alone brought the edge to a blunt performance of an opera that is about edge.
I had seen Stuart Neill before only once ages ago in a Verdi Requiem with Denyce Graves in Rio (don’t ask me when was that – I have no idea). My distant memory of the event tells me of a voice big enough and right in style in a not really musically elegant singer. This evening, in the context of his competition, I would say that – in a concert version where his bulk is not a hindrance – he is fairly viable choice for the role. His voice was built around an Italian sound, his pronunciation is extremely convincing, he sounds believably “rustic” and even has functional mezza voce. It is also true that his phrasing is a bit emphatic and not very keen on legato and his notes too often crudely finished off. Ah, sì, ben mio was not graceful or heartfelt, but Di quella pira – highly adapted, as it often is, to the necessities of the final acuto – put across its “message” (in the sense that it sounded all-right heroic and athletic rather than desperate and arthritic). If I had to be really honest, I found Dalibor Jenis’s Count di Luna the all-round most reliable performance this evening. When I saw him in Un Ballo in Maschera, I couldn’t see all the qualities he displayed this evening – a forceful, dark voice with the right touch of harshness, but also supple enough for a sensitively sung Il balen. Finally, Marko Mimika was a decent Ferrando who could do with a tiny little bit less wooliness.
There are two famous quotes about this opera: One that you mentioned and “The Marx Brothers do to Il Trovatore what should be done to Il Trovatore” 🙂
Nevertheless, there is great music on this opera. with Zajick.
There are two famous quotes about this opera: One that you mentioned and “The Marx Brothers do to Il Trovatore what should be done to Il Trovatore” 🙂
Nevertheless, there is great music on this opera.
First of all, I want to let you know that you have more faithful readers than just Cavalier. I always read your reviews as I find them thoughtful and thought-provoking. I live in Berlin part-time. When I hear a performance that you review, I find it interesting to compare what we’ve heard and how we’ve reacted to what we’ve heard.
I attended last night’s “Trovatore.” It’s an opera that I’ve never really liked, although I find some of the music beautiful or exciting, as the case may be. It was my first opportunity to hear Anja Harteros live, which was the primary reason for my attending the performance.
I enjoyed Harteros’s performance tremendously. I agree with all of the things that you identified as her strengths. Yes, there were details that perhaps could have been better: the tuning of a few notes in her first scene or the tendency occasionally to drain the color out of her voice in a descending phrase. But what I heard was a beautiful performance. I found her voice exciting, even if it is less Italianate than other voices.
Dolora Zajick was impressive. Her voice has changed somewhat from what it was years ago, but the passage of time has also given her a rich, deep experience with the role that added greatly to yesterday evening’s performance.
I generally agree with your comments on Stuart Neill. I had not heard him live before. His performance of the role was solid and at key moments, exciting. You are spot on in noting that the “Ah, si, ben mio” was ungraceful and lacked warmth. I, too, noted that he frequently clips the final note of a phrase. Although his timbre may be “Italian,” his musical style does not always reflect the best of the Italian tradition in the role of Manrico.
I, too, heard Dalibor Jenis in “Un Ballo in Maschero,” and had the same reservation then that I had last night. I find that his leathery timbre makes it difficult for me to appreciate some of his qualities as a singer. I didn’t find his “Il balen” very pleasing. He’s obviously a fine musician, and I would like to hear him in non-Italian roles.
Marko Mimica’s didn’t sound “woolly” to me. In fact, I was impressed by his sound. And I don’t recall when I last heard a Ferrando actually articulate the sixteenth notes (semiquavers) in “Abbietta zingara.” It will be interesting to see how he develops.
The real weaknesses of the evening were the conducting and the orchestra. There is more to say on this topic than I can include in this already long post. This was Andrea Battistoni’s debut at the Deutsche Oper. Despite the extensive experience listed in his bio on the Deutsche Oper’s website, I found that he was not up to the task that he faced last night. Perhaps he’s green and simply needs time. Or perhaps time and experience won’t bring improvement. I can’t tell. Then there’s the seemingly intractable problem of the Deutsche Oper orchestra. Yes, they can sound good, as they did in “Jenufa” a couple of months ago. And yes, they can produce a more Italian sound than they did last night, as they did in the concert performances of “I due Foscari” under Roberto Rizzi Brignoli. But performances like those are rare exceptions. It’s likely that there are institutional obstacles that make it very difficult to address the problems with the orchestra. When I attend performances at the Staatsoper here in Berlin or at the Hamburgische Staatsoper, I’m reminded of how good an orchestra in a major German opera house can and should be, even when the conducting could or should be better.
Sorry for the long post, but I wanted to share some of the thoughts that your review brought to mind. Will you hear the “Lucia” on Friday night with Damrau and Calleja?
Hi, Roberto!
Trovatore was one of the works that “converted” me to opera and I can still enjoy it when it’s made to be exciting.
Hello, Walther!
Thanks for reading! I am glad you like to compare your impression to what I write here – it is fascinating how the same performance can produce different effects in different people. And it is even more fascinating when the effect is similar.
As for last night’s Trovatore. Harteros – I do believe that, good as it was, she was not in her best voice. What I mean is – it won’t be any surprise to me if she is really better in the next concert or in the near future somewhere else. I have seen her often here and in other theatres and this was not her in her true best – again, good as it was.
You are right to observe that, although Neill has an Italian “method”, his singing does not represent the _best_ Italian tradition. I should have written it that way 🙂 As for Jenis, yes, it is not a beautiful voice, but – even if his Il balen was not really dulcet – it was very keenly sung. His Renato, in comparison, sounded a bit tremulous and less focused, in my opinion. Well, I didn’t say that Mimica was 100% woolly – only that there was a hint of wooliness in it. Yes, he really went for his semiquavers (I’ve noticed that) – even in a very fast tempo, what makes it even more commendable.
The orchestra. If you have more to say, please say it! I find it truly interesting. I have the impression that the conductor was green for the task, not much in the sense that he doesn’t have the musical abilities for that, but in the sense that he couldn’t communicate with the orchestra. I had the impression too that the orchestra was not giving him a good time either. I won’t even try to guess who is to blame – but, as a friend of mine uses to say, “the energy was not flowing properly between them”.
Lucia. I have already seen Damrau as Lucia (at the Met), so I’ve decided to see it with Peretyatko next week. I’ll be in Leipzig for the Bach Collegium Japan on Friday.
Am appalled. Overcome with guilt and shame that RML should have had to endure a substandard (or was this, given the difficulties, actually a “standard” or better? hmmm) Travatore to the slightest extent on my account. And I hadn’t even considered the possibility (probability?) that the DOB orchestra, excellent in so much, might be a bit out of their comfort zone nor the prospective infelicities on the podium.
RML is of course correct that I was looking forward to his review but I was concerned not only that his very acute stylistic sensibilities might be offended, yet again, by Harteros singing Verdi, but also that his inevitable scathing critic would have an adverse effect on Frau Harteros future career as a Verdian:-). Still to learn that HARTEROS (???!!!!) worked hard for mezza voce(?!?!?) indicates that this was, indeed, a seriously off night for her and I am all the more sorry if I contributed in any way to RML having to suffer through it and for Anja to be subjected to this severe, but on this night apparently justified, evaluation:-)
It would seem, however that over the next year the people in Munich and (if they are very lucky) London, will be subjected to more of her Verdian infelicities. As for RML, his reservations aside, I’m quite confident that he will, for the benefit of his most loyal readers, again subject himself to the compromised Harteros Verdi experience with hopefully more felicitous results. In the meantime, there’s always Lohengrin and Tannhauser.
You mean they don’t pay you to write this blog? Based on the effort you put into it they certainly should.
I don’t share your enthusiasm for Zajic. I was at her Met debut in 1988 (as Azucena) and with the exception of the big sound you mention, she never impressed then or since – except as Ortrud in Los Angeles. Her legenedary Verdi & verismo roles sound applied & calculated to my ears. She does use chest but she still sounds imitative italianeate in a very practiced, unspontaneous manner. But Blythe’s Azucena was no better and certainly not as reliably sung as Zajic – even at this late stage in Zajic’s career.
I was just listening to that old Don Carlo opening night La Scala performance from 2008 (?) with Stuart Neil. I enjoyed his performance. Compared to what we are getting nowadays, I thought he was better than the press gave him credit for at that time.
I am happy to inform you rml – for at least the second time in reading your blog, you have received the Jerold Prize of the Week – for your exposure of Harteros’ mediocrity in italian rep. Her Desdemona was an exercise in miscalculated portamenti; her Don Carlo Elisabetta was better but extremely cautious and definitely nowhere near italianeate YET. However, Harteros is not the worst offender amongst the Exalted Deutschland Divas – that rank belongs to Anne Schwanewilms, who is one of the worst italian interpreters I have ever heard (and one of the greatest German interpreters I ever heard).
Enjoy your summer!
Cavalier,
I guess that listening to Anja Harteros sing Verdi must the kind of infelicity one finds in paradise 🙂 But, yes, “working hard for mezza voce” is exactly what I mean by saying that she was not at her best last night. And, yes, I am trying to organize my self to see her Elisabeth in Zurich, but everything is really uncertain now.
Hi, Jerold!
As my grand-father used to say, those who run for the pleasure of it cannot complain of tiredness. So no complaints here – just some laziness now and then.
I didn’t know that Zajick has sung Ortrud. I understand you saw it – how was it? You are right that she has her own version of Italian style, but she has method in it 🙂
I haven’t use the word “mediocrity” – “disadvantage” would be more like it. But, well, it was an honor just to be nominated 🙂
I didn’t see Zajic’s Ortrud at Los Angeles. I haven’t been to Los Angeles since the last century. But I did hear the radio broadcast in November of 2010. The review below was in the L.A. Times and, even for my tastes, was a bit too harsh. Isokoski sang an exquisite Elsa for me – particularly beautiful was the delicate way she floated my favorite phrase ‘soll meine Liebe stehn’ in the finale of Act 2. Zajic in the production fotos looked like W.C. Fields on a toot (priceless and unmatched, see foto below) and she sounded wonderfully exciting. Heppner was adequate.
http://latimesblogs.latimes.com/.a/6a00d8341c630a53ef0133f64acdf2970b-popup
http://latimesblogs.latimes.com/culturemonster/2010/11/los-angeles-opera-stages-a-new-production-of-lohengrin.html
I want to thank all of you for your comments, criticisms and overall view points. It helps me to better understand that which is coming across to an audience and to understand areas where I need to focus my work to continue to grow as an artist. Again, thank you.
Mr. Neill, for tomorrow night, I wish you “In bocca al lupo!”
I would like to make Walther’s words mine! It’s most gracious of you to post, Mr. Neill.