Resphigi’s La bella dormente nel bosco (libretto by Gian Bistolfi) is a take on the Charles Perreault fairy story. It was originally written for a puppet theatre and later adapted for human performers. Its heritage shows in it that it’s very much a numbers opera and it’s quite short. The three acts come in at around eighty minutes. Musically it’s a bit of a hodge podge. It’s mostly quite atmospheric and colourful (similar to Resphigi’s better known orchestral works) with elements of parody. One can sort of hear echoes of Debussy, Stravinsky and Strauss. It finishes up with a cakewalk and a Broadway style finale which is decidedly odd.
Verdi’s Il Trovatore is always pretty grim. It’s hard to lighten up an opera with multiple executions, suicide and babies being barbecued. David Bösch in his Covent Garden production (remounted and recorded in 2017 with Julia Burbach directing), probably wisely, doesn’t even try. This is as grim as Grimsby on a wet Sunday in February with extra gratuitous violence. The setting is some roughly contemporary civil war. The Conte di Luna’s troops are a scruffy lot but they have a pretty cool looking tank. The gypsies are a bit gayer though Azucena’s caravan is disturbingly plastered with baby dolls reflecting her obsession. It’s all quite dark. Really only Leonora (and her maid) stand out as they wear white in contrast to the greys of pretty much everyone else. The story is told straightforwardly enough and the sets and costumes do provide some kind of moral differentiation between the two camps with Leonora sort of standing above and apart from the violence.
Olivier Py’s production of Wagner’s Der fliegende Holländer, filmed at the Theater an der Wien in 2015, is quite unusual. Usually opera productions either play the story more or less straight or work with a concept of the director’s that is not obviously contained in the libretto. Py doesn’t rally do either of these. What he does is present the narrative as Wagner wrote it but with visuals that act as a sort of commentary on, rather than a literal depiction of, the action being described. One of the things this does is make the viewer realise just how much Wagner is describing! There is much more tell than show.
Tchaikovsky’s Pique Dame is a rather odd opera. It’s not just that the main plot turns on a pretty bizarre tale of the supernatural but that it also contains a significant number of big set piece numbers that don’t advance the plot at all; the “military children” in Act 1, the Pastoral in Act 2 and the bizarre “Glory to Catherine” chorus in Act 3 aren’t the only ones. One assumes that they are there so that the composer could interpolate some suitably “Russian” bits because without them it’s just any other opera that happens to be in Russian.
Mussorgsky’s Khovanshchina is a bit of a weird opera. It’s ostensibly based on a series of not entirely related events that unfolded during the succession crisis following the death of Tsar Fyodor III (which took about 12 years to play out) into a story that takes place in a day. It’s complicated by the fact that key players in the story; the Tsars Peter and Ivan and the Tsarevna Sofia don’t actually appear because the Russian censorship would not allow members of the dynasty to be portrayed on stage. Perhaps unsurprisingly Tcherniakov isn’t much interested in the details of the history and uses it to make some, not always entirely obvious, points about modernity vs tradition, personal power and the nature of religious cults.
My quest to find a production of Puccini’s Madama Butterfly that has anything insightful to say about the piece continues. This time it’s the 2018 production from Glyndebourne directed by Annilese Miskimmon. I was interested to see how a female director would treat the obvious problems with the piece. Miskimmon’s solution is to shift the setting to early 1950s Nagasaki and to treat Butterfly as one of many real and fake war brides. Apparently there was a thriving fake war bride business at the time. The obvious problem of a Nagasaki setting is just ignored.
I reviewed Brett Dean’s Hamlet when it was first broadcast from Glyndebourne on the BBC in 2017. Somehow I managed to miss the subsequent DVD/Blu-ray release but I’ve now been able to get hold of the DVD and can provide some further insights. As far as the work itself, the production, the performance and the video direction I don’t have anything much to add to my original review.