Vincent Brossard’s production of Verdi’s Otello for the 2016 Salzburg Easter Festival is both elegant and subtle; the latter quality being backed up by superb singing and acting from the principals. In many ways the production is clean and straightforward with a focus on character development but it also makes use of elegant lines and sharply contrasting darks and lights in creating the stage picture. There’s also a really cool use of mirrors during Già nella notte densa that I can’t quite figure out.
Not too many CDs of new opera recordings, at least of mainstream repertoire, come my way these days. Studio recordings have become rare and the usual medium is a video recording, itself a spin off from a live broadcast; TV, cinema or web, of a live performance. This makes sense to me. Just listening to an opera has always seemed a second best. Anyway, that’s all by way of saying that I was a bit surprised to find myself listening to a CD edition of a live recording of Puccini’s Manon Lescaut from the 2016 Salzburg Festival. How did this recording happen you ask? The answer is on the box, where Anna Netrebko in the title role, gets top billing, even over the composer.
Schubert could write great melodies and he had a real affinity for the voice so one might expect him to have been successful when he turned his hand to opera. He wasn’t with Fierrabras which wasn’t performed until decades after his death and has been revived seldom since, most recently at Salzburg in 2014 where it was recorded. It’s easy to see why. The libretto is awful and even if the music were really amazing, which it isn’t but more of that later, I doubt it would have made much impact.