Feeds:
Posts
Comments

Posts Tagged ‘Eric Owens’

Patrice Chéreau was a stage director of legendary status, his final production of R. Strauss’s Elektra a co-production of the Metropolitan Opera, the Teatro alla Scala, the Festival d’ Aix-en-Provence, the Finnish National Opera, the Lindenoper in Berlin and the Liceu in Barcelona. Although many reviewers tend to prefer original productions (especially when the “imported” one is preceded by a video release, as in this case), the whole venture is such a candidate for an entry in the history of operatic performance that audiences all around the world seem eager to see it live in their cities. The Met decided to make it more alluring by featuring Nina Stemme’s Elektra, a role added to her repertoire only last year in Vienna.  The DVD (with Evelyn Herlitzius in the title role) has shown the production for Straussians all over the world, and I can do nothing but confirm Chéreau’s masterly Personenregie (here revived by Vincent Huguet) and his unprejudiced view of these characters, finding palpable feeling in a tragedy that often tends to the monumental.

Nina Stemme declared that she learned from Kristin Scott-Thomas’s performance in the Old Vic’s staging of Sophocles’s Electra. That was a very intelligent exercise – Scott-Thomas built her character not on increasing tension, but around a delicate mix of scorn, frustration, sarcasm and, most importantly, the strife for restoration, for making things right again. Her Electra had to kill the woman Clitemnestra had become to have back her mother as she was and should have always been. Stemme is no Birgit Nilsson – her voice lacks the steel and the flashiness to portray an unrelenting fury. This Elektra is more comfortable wailing for her father, trying to lure her sister and regaining her vulnerability in her encounter with Orest. Although it is big enough a voice, this role exposes its essentially lyric, warm-toned and soft-grained quality. Although she hit her two high c’s commendably, exposed dramatic notes often required some preparation and sounded forced compared to the moments in which she could attack softly and soar in high-lying cantabile. Her low register was often cloudy and the text was not always crispy, but this was offset by the expressive quality of her phrasing. For instance, the last ” duet”  with Chrysothemis never sounded so touching as this evening, both sopranos floating her high registers as Arabella and Zdenka would do some years later: these sisters were finally sisters again.

Adrianne Pieczonka was an intense, solid Chrysothemis. Her high register could sound effortful and, from some point on, raspish, but she refused to let her character sink in the background (as it often happens). My ten or eleven readers know that I do not think that Waltraud Meier has the voice for the role of Klytämnestra, in spite of her dramatic intelligence and pyshcological awareness. However, vocally speaking, this was probably the best performance I’ve heard from her in this role. The low register had a little bit more color than usual – and that makes a lot of difference in this role. I don’t think, however, that those in the Family Circle could really HEAR that. Burkhardt Ulrich  (Aegysth), too, had some trouble piercing through. That was definitely not a problem for Eric Owens’s admirably dark-toned, voluminous, grave yet surprisingly clear-eyed Orest. Minor roles had plenty of enderaing surprises – an intense, firm-toned Fifth Maid from Roberta Alexander (I’ve really cherished the opportunity of finally seeing her live) and Susan Neves showing what dramatic high notes really sound like as the Aufseherin.

Although this was an interesting cast, this performance was really special because of Esa-Pekka Salonen’s exemplary conducting. First, he truly understands the musical-dramatic effects and its internal relations. Second, the optimal level of balance (in the orchestra and with his singers) allowed him absolute transparence. While one felt as if reading the score, he or she would also be costantly surprised by how eloquent and powerful this score is. Third, Mr. Salonen never resorted to loudness, abruptness and grandiloquence. The Met orchestra rarely sounded so crystalline and flexible.

Read Full Post »

Reading what I wrote about the telecast of Wagner’s Siegfried from the Met, I cannot help wondering how flattering these microphones can be. Even if it is not fair to compare two different performances, the forces involved are more or less the same and the impression could not be more different.

First of all, after having seen the telecast, I wrote that Fabio Luisi had shown his Wagnerian credentials and have mentioned even a sense of “rhythmic alertness”. The same cannot be said this evening, I am afraid. To start with, the house orchestra’s string section sounded so recessed and/or colorless that the only positive side one could mention is that you could indeed hear the beautiful playing from woodwind throughout. The pace was generally slow and, in the context of thin and modest orchestral sound (the introduction to act III could be described as downright clumsy), one could feel how slow it could be. In the defence of Maestro Luisi, he was extremely considerate with his singers – his leading tenor lacks power and had some false entries (Wotan was sometimes “creative”, especially with the text). The moment when the conductor stopped  being nice to his cast, things actually became more effective (we are talking about act III…) – the final scene was actually quite exciting with some instances of beautiful articulation from the violins.

In the telecast. Jay Hunter Morris sounded like a light, slightly metallic yet plausible Siegfried. This evening, I would not use these words. The sound was often unfocused, sometimes raw and often lacking slancio. His German is accented and sometimes his personality is too likable for boorish Siegfried. There are moments, especially in act III, when one can see his heroic potential in some firm and full high notes, but I would say that jugendlich dramatisch roles sound more reasonable for his voice, provided he tries a more elegant approach to phrasing.

Actually, one tends to be harder on the Siegfried when the Mime displays such firmness, power and volume as Gerhard Siegel has this evening. I would add that, when he stays away from Spieltenorish placement (let’s call it like this), one perfectly believes that this German tenor has sung roles such as Florestan and Tannhäuser (and maybe should sing them more often). He is also a very imaginative and charismatic actor, stealing the show this evening.

The Siegfried’s Brünnhilde will never be Katarina Dalayman’s best friend – and she had to resort to the usual adaptations (shortening note values and disregarding dynamic markings when things get high – and they tend to STAY high in this part) to make it happen. That said, she was in very good voice this evening. Although her acuti were unvariedly forte and often tense, she sang warmly and sensitively most of the time. Moreover, it is always a pleasure to hear such a big velvety soprano voice in the theatre.

I’ve heard Mark Delavan sing richer high notes as Wotan in Berlin, but this evening he showed deeper understanding of his role, singing spiritedly and with flair. Also, his voice is noble and ample as required. He seems to need some extra rehearsals in this productions, one could notice. The contrast to Eric Owens’s Alberich was quite telling. If there is something in the telecast that is truly consistent to reality is the American bass-baritone’s performance. This is truly a Wagnerian voice of outstanding quality – large, forceful, rich, dark and quite flexible. Among the non-native speakers this evening, his was by far the best German, not only in terms of pronunciation but also in what regards declamation. He has an intense stage presence but, differently from Rhinegold, the director gave him here nothing to work from.

As a friend said this evening, Hans-Peter König is one of the rare Fafners these days whose voice sound large even when it is NOT offstage. Meredith Arwading has impressive deep contralto notes while coping with the mezzo area of the Siegfried Erda, but her diction is imprecise – not enough to disguise a strong accent. As for Lisette Oropesa’s Waldvogel, this is a bit tricky, especially when you sing it offstage (these days, directors tend to put the soprano ON stage), but this evening the impression was especially pale.

As for the production, there is very little to add to what I have previously written. One often reads about how Robert Lepage’s production does not go beyond the “machine” and how there is no Personenregie. Well, I would say that even in what regards the machine, there is still some space for improvement. The dragon in act II is almost funny and the  sets in the closing scene is far less impressive than the way they looked in the end of Die Walküre, for instance.

Read Full Post »

I have nothing new to add to the discussion about the Met’s new Ring, but in any case I would like to join the general opinion about it, based on what I could see on the movie theatre. Has the Met spent its millions wisely? I would say no – Robert Lepage’s machine cannot help being interesting, but it’s hardly a deus ex machina in a production that has nothing to say and no stage direction other than rescuing singers from being smashed by the revolving structure. And there are the costumes – if a breastplate is everything Lepage and his creative team had to say, the Met should have spared the money and kept Otto Schenck’s old production. If I am allowed a question – I would be curious to hear why, amidst all those technological niceties, a decent transformation scene for Alberich and an impressive entrance for Erda could not be provided. Tell me about anti-climatic. I know: the Rhinemaidens scene is indeed visually striking and the God’s entrance in Walhalla is clever, but I certainly don’t understand why suspending singers from wires was thought to be a good replacement for true theatrical direction:  the puppeteered Loge making his cautious steps upwards on the ramp looked particularly uninspiring.

What is beyond doubt are James Levine’s Wagnerian credentials – I dare to say that his bold, clear, forward-moving and dramatic account of the score is more exciting than the one available on DVD from a couple of decades ago. The house orchestra also seemed to be in great shape. When it comes to singers, it is difficult to say the last word judging from the broadcast, for the Met’s mikes can make a Natalie Dessay sound like a Birgit Nilsson, but judging from my experience with those singers live in that venue, I guess I can have an idea. The female side of the cast was indeed uniformly strong: Stephanie Blythe’s grandly powerful Fricka is a Wagnerian classic of our days, Wendy Bryn Harmer’s golden-toned Freia was extremely satisfying (also in the acting department) and the three Rheinmaidens (especially Lisette Oropesa) were all spirited and pleasant on the ear. If Patricia Bardon was a bit small-scaled as Erda, her voice is still aptly dark and she is always a classy singer. Among the men, the evening’s Alberich deserves special mention. The reason why the whole episode involving Wotan, Alberich and Loge in Scene 4 was not a complete fiasco in terms of theatrical action was Eric Owens’s ample, dark-toned bass-baritone, intense delivery of the text and forceful stage presence. And I saw this as someone who had close-ups on the screen. I can only guess that someone in Family Circle was asking him or herself why nothing was happening on stage at that point. Both giants have been cast from strength with Hans-Peter König and Franz-Josef Selig, who relished the competition, offering both vehement, passionate performances. Gerhard Siegel’s powerful and characterful Mime is also worthy of mention. Musicianly and elegant as Richard Croft’s Loge was, he does sound out of his element here. He delivers his lines somewhat cautiously, is often underpowered by the orchestra and has too noble a voice for the role, not to mention that he lacks the necessary ebullience. As for Bryn Terfel’s Wotan, I must confess I have found him far more comfortable than I expected. My experience with the Welsh bass-baritone live has invariably shown him grey-toned, fatigued and lacking volume, but I must have had bad luck. In any case, here I have to mistrust the microphones, i.e. I wonder how voluminous he really sounded live. As heard here, although the voice is not rich nor particularly noble, it seemed quite vivid in the whole range. His acting was quite inexpressive, but he found space to color his text quite successfully. Let us see how he is going to deal with the far more testing part in Die Walküre.

Read Full Post »

Follow

Get every new post delivered to your Inbox.

Join 55 other followers