A couple of week’s ago I reviewed the recording of the 2020 revival of Richard Jones’ production of La Bohème at Covent Garden. I said in that review that I wanted to get hold of the original first run recording, which I have done, albeit on DVD rather than Blu-ray. Comparing them was really very interesting.
Weber’s 1823 “Grand-heroic opera” Euryanthe doesn’t get performed very often. It’s not hard to see why even though Christof Loy’s production for the Theater an der Wien filmed in 2018 has some interesting features.
Bizet’s Carmen premiered at the Opéra Comique in Paris in 1875. In 2009 it was revived there in a production by Adrian Noble. That production was filmed for TV and has now been released on disk. Having watched it I’m asking myself whether it’s an attempt in some way to “recreate” something similar to the 1875 experience. Alas, there’s nothing in the documentation to help with this question either way but two things intrigued me. The Orchestre Révolutionnaire et Romantique is in the pit which suggests an attempt to get a “period sound”. Secondly, the spoken dialogue is not the version I’m accustomed to and there’s quite a bit more of it. Is this, perhaps, the original 1875 dialogue?
Richard Jones’ production of Puccini’s La Bohème recorded at the Royal Opera House in 2020 is, at first glance, a highly conventional “traditional” La Bohème. There’s no subtext. The story unfolds strictly in line with the libretto. And yet there’s something going on that raises it above the level of the typical canary fanciers’ La Bohème. Ultimately I think it’s a combination of avoiding sentimentality or glitz or glamour and really focussing on the characters and the relationships between them. It seems that the revival direction team of Julia Burbach and Simon Iorio and the cast have really worked on this.
Laurent Pelly’s 2017 production of Rossini’s Il barbiere di Siviglia for the Théatre des Champs Élysée is classic Pelly. The sets and costumes are very simple and essentially monochrome. The sets in fact are constructed from flats painted as music paper. The black, white and grey costumes are more or less modern and pretty nondescript. But, in the classic Pelly manner, the action is fast paced and convincing. There’s lots of synchronised movement and the physical acting and facial expressions are a bit exaggerated. I toyed with the word “cartoonish” but that’s a bit crude if not entirely inaccurate. The overall effect is positive.
I’m rather a fan of the productions on the lake stage at Bregenz. It can be a bit hokey and the productions, though spectacular, aren’t usually particularly deep but they are fun to watch. The 2019 production of Verdi’s Rigoletto might just be the best I’ve seen. It takes spectacular to new heights, it’s got some interesting ideas and the performances are very good indeed.
Nikolaus Harnoncourt’s 2014 cycle of the Da Ponte operas continues with Don Giovanni. The recording has much in common with his Le nozze di Figaro, even down to the same essay in the booklet, and I’m not going to repeat what I wrote in that review. If you haven’t read it, I recommend a look before reading the rest of this.
Watching the recently released recording of the 2017 production of Giodarno’s Andrea Chénier from La Scala had me wondering why this piece isn’t done more often. If it had been written by Puccini, and it might well have been, it would get done as often as Tosca, with which it has many similarities. In the conscience stricken revolutionary Gérard it has one of the few multi-dimensional characters in verismo opera and the music, for Chénier in particular, has all the qualities that people listen to Puccini for. I guess perhaps one needs at least a rough understanding of the events of the French revolution to really follow the plot as Giodarno, unlike Puccini, roots his work in actual history but still. Opera fashion is very odd.(*)
Back in 2014 Nikolaus Harnoncourt launched a project to present all three Mozart/da Ponte operas, concert style, on the stage of the Theater an der Wien in a single month. They are now being released on DVD/Blu-ray. The first is Le nozze di Figaro and it comes with a 52 minute documentary by Felix Breisach; Nikolaus Harnoncourt – Between Obsession and Perfection – part 1.
It’s quite unusual for a production to be released twice on video but that’s what has happened with David McVicar’s production of Gounod’s Faust for the Royal Opera House. It was originally released in 2010 with a cast that included Roberto Alagna, Bryn Terfel and Angela Gheorghiu. It’s now been released again in a revival directed by Bruno Ravella with a cast headlined by Michael Fabiano, Erwin Schrott and Irina Lungu filmed in 2019.