4 x 4 Last Songs

I have added to the  discography of R. Strauss’s Vier letzte Lieder comments about the Adrianne Pieczonka/Friedrich Haider, Michaela Kaune/Eiji Oue, Ricarda Merbeth/Michael Halász and Anja Harteros/Fabio Luisi recordings.

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Donizetti’s Roberto Devereux, Bayerische Staatsoper, 05.07.2007

Thanks to the advocacy of Edita Gruberová, the Bayerische Staatsoper has reserved a special place for bel canto operas in its seasons – and judging from what I witnessed this evening, admirers of Donizetti operas have something to be thankful for. Never before had I experienced the full effect of Donizetti’s writing for the orchestra as intensely as this evening in Munich. Conducted by Friedrich Haider, who happens to be someone who does not trifle with this repertoire, the hall was filled with rich, refulgent string sounds, unbelievably precise in passagework and perfectly blended with woodwind. Some may find that such an approach would be a disadvantage to singers – that was not the case. Allowed to dialogue with solo instruments in concertante manner, inscribed in the framework of beautiful orchestral sound, the cast could find a deepened level of expression.

Christof Loy’s production is, of course, the same featured on DVD with more or less the same cast. As on video, Loy found updating as an enlightening way of focusing the political aspects of the plot. One is entitled to feel suspicious, but the efficient direction of actors makes it rather believable. It is, of course, Gruberová’s show, but she surrenders entirely to the concept. Having a lifelong experience with the traditional approach – red wig and tons of pearls – scaling down the clichéd “Elizabeth I”-act to the psychological days in which we’re living was not a stretch for her.

When it comes to the vocal aspects of her performance, one is tempted to speak of what an achievement this is for a 60-year-old singer, but Gruberová does not need that. Although her voice had seen more impressive days, she can still boast to have resources almost no one possesses. Unfortunately, a strong low register has never been among her natural gifts. And Donizetti may be very demanding in this aspect. In her entrance aria, the search for low notes, for example, seemed to have unbalanced the production of her voice – all the mannerisms her detractors like to point out were there – scooping, fussing with tempo and slight behind-the-beat coloratura. During the evening, she would found her optimal level, though, managing to focus most of her plunges to chest register. The other low notes were dealt with with “acting with the voice”. She seemed to be willing to compensate this with an unending supply of her hallmark qualities, such as immaterial high pianissimo, effortless divisions and forceful in alts. The closing scene is a Gruberová classic. It has been – and it still is – one of her supreme achievements in bel canto repertoire.

The replacement of the leading tenor and baritone on the video for two Italians has also proved most positive. Massimiliano Pisapia has a beautiful and natural tenor and phrases in gracious and stylish a manner. It is a pity that he feels tempted to produce his high notes excessively covered. Paolo Gavanelli is always an intense stage presence. His first aria was sung with outstanding purity of style and control of line. Later his tendency to produce woolly top notes would rob a bit from the nobility of his phrasing. Jeanne Piland’s mezzo is pleasant to the ears and she is an engaged actress, yet her voice soon started to develop a flutter and ended on sounding tired. The minor roles – even the very small ones – were cast from strength with Maximilian Schmitt, Steven Humes and Nicolay Borchev. I wonder if Donizetti himself listened to his Roberto Devereux as scrumptiously performed as we have tonight in Munich.

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