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Posts Tagged ‘Brandon Jovanovich’

Shostakovich’s Lady Macbeth of Mtsensk used to be a “for a change” item in the repertoires of big theatres in the world and you would expect to see the B-team creative team working on a low budget. It has, however, increasingly tempted adventurous first-rate sopranos (especially those who sing Wagner) willing to try a role challenging both in terms of music and theatre. Although this is a groundbreaker in Russian opera, the discography and videography practically feature no recordings made in Russia. For instance, Galina Vishnevskaya is the only Russian soprano whose performance in the title role has been officially released. As it is, this work’s performance tradition has been built rather in the “20th century opera” than in the “Russian opera” shelf of one’s library. This evening in the Großes Festspielhaus, in one hand, confirms this trend: it has the Vienna Philharmonic (there already is a live recording with the Vienna State Opera Orchestra) conducted by Mariss Jansons (who had already recorded it with Eva-Maria Westbroek, Christopher Ventris and the Concertgebouw) and was supposed to feature Nina Stemme’s Katarina Izmailova. With her cancellation due to illness, this finally ended up being one of the most “Russian” casts ever to appear in an important theatre in the West. The leading tenor is American – and there are two Ukrainians.

In any case, the most important element of this performance is Mariss Jansons’s conducting the Vienna Philharmonic. Maestro Jansons has developed the reputation of a specialist in Shostakovich’s music and proves to be immune to all clichés and shortcuts in this score. He resists the temptation of having an angle and lets the score speak in its wide-raging possibilities. Under his baton, this is grand-scale drama. The Latvian conductor paints, with deluxe orchestral sound, the kaleidoscopic atmosphere of this wide-ranging story without any parti pris. Every scene is given what its text and music demands, as a seasoned Lieder singer would do in a Schubert song. Mr. Janssons does not make light of Katarina’s predicament – he does convey the composer’s cynicism, but he takes it seriously too. And this only makes everything more poignant and more cruel. The fact that he has the Vienna Phiharmonic with him can be described by my neighbor’s reaction, which was letting go a “Wahnsinn!” every time he heard vortices of perfectly blended woodwind, brass and strings spin out in absolute precision. And this was often.

Originally cast as a prisioner in the last act, Evgenia Muraveva was promoted to the title role (it is not clear to me if she had already sung it or if she was scheduled to sing it for the first time in the Mariinsky in the near future) as Ms. Stemme fell ill. Hers is a vibrant and slightly metallic soprano one typycally calls “Slavic”, with a mezzo-ish low register and yet surprisingly ductile in floated mezza voce and keen on legato whenever lyricism is demanded. Being Russian herself, the text is delivered with crispness and purpose. Although I was curious to hear Nina Stemme’s unique vocal colors in it, I was fully satisfied by Ms. Muraveva’s freshness of approach and authencity. By the enthusiastic applause she received, I believe that everyone else in the theatre agrees with me. Her Sergey was American tenor Brandon Jovanovich, whose warm tenor has the necessary smile to make the character truly believable. For someone who sings Wagner, his high notes did not ring heroically in the auditorium, but that only added a welcome soft-spoken quality to his character. Dmitry Uliyanov was a resonant, firm-toned Boris Timofeyevich and all minor roles were aptly cast.

Andreas Kriegenburg stages this in the decayed courtyard of a suburban residential building and, even if it might seem contemporary, this is actually secondary to the sensation of isolation, confinement and social desintegration. Although Harald B. Thor’s sets are impressive and atmospheric, the director’s focus is on the Personenregie, which tries to depict the moods and feelings of the character rather than make them symbolic or metaphoric.  As a result, the audience couldn’t help being drawn into the dramatic action and empathize with those people whose stories are being told on stage.

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