Sir John Eliot Gardiner’s Poppea

In 2017 Sir John Eliot Gardiner, the English Baroque Soloists, the Monteverdi Choir and a rather distinguished group of specialist baroque singers toured semi-staged versions of the three main Monteverdi operas, which were also recorded for video. Being a bit skeptical about the idea of videoing semi-staged performances I decided to take a look at L’incoronazione di Poppea (because it’s my favourite of the three) before committing to the trio. Bottom line, despite some stylish singing, good acting and excellent playing I can’t really see the point. There are good fully staged versions of all three operas available on video and, for me, especially watching at home, it’s hard for a semi-staged version to fully engage my attention.

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Falstaff as farce

Verdi’s Falstaff, of course, is a farce so there’s no reason why a director shouldn’t treat it as one but all three of the other productions I’ve seen in the last few years have transposed it to the 1950s and put a spin on it.  Sven-Eric Bechtolf, in his production for the 2021 Maggio Musicale Fiorentino, just doesn’t do that.  It’s a 1590s (ish) setting and it’s played very broad.  There are big costumes, big gestures, entrances and exits and characters “hidden in plain view”.  It could be Dario Fo or Brian Rix.

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600

It’s taken from late October 2018 to move from 500 video recordings in the archive to 600.  So that’s 2-3 recordings per month which sounds about right.  It’s slower than in the past for two reasons.  There just isn’t as much historic material I haven’t already seen and the rate of new releases, unsurprisingly, slowed down quite a bit during the pandemic.

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The Passenger revisited

Something over three years ago I wrote a review of the video of the 2010 Bregenz Festival production of Mieczyslaw Weinberg’s The Passenger. There’s now been a second fully staged production, at Graz, recorded in 2021 (without an audience i think but otherwise no obvious COVID concessions). The Bregenz review contains a whole lot of information on the performance history of the piece as well as a plot summary so I’ll not repeat that. Having a quick look at it before reading on will likely make the rest of this post more comprehensible.

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La Wally

Catalani’s La Wally is not much performed outside Italy so I was interested to get my hands on a recording made at the Theater an der Wien in 2021.  It’s about what one might expect from an Italian opera of the 1890s; an everyday story of country folk plus murder.

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Intense Jenůfa

Janáček’s Jenůfa was staged and recorded at the Staatsoper unter den Linden in 2021 under COVID conditions.  There’s no audience and the chorus members, in black, are distributed all around the auditorium.  Even without a live audience it’s extremely dramatic and intense.

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In a mental hospital?

Not so long ago I reviewed a production of Prokofiev’s The Fiery Angel and described it as “so bonkers that I hardly know how to describe it.”.  So what to say about one that I found even less satisfying?  First, for plot details check out the earlier review.  Now for this version directed by Andrea Breth and filmed at the Theater an der Wien in 2021 without an audience but with no other obvious concessions to COVID.

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Barbara Hannigan is the Snow Queen

As written, Hans Abrahamsen’s The Snow Queen is a fairly dark piece that cleaves pretty closely to the original Hans Christian Andersen story. The production at the Bayerische Staatsoper (in an English version adapted by Amanda Holden from the original Danish) and recorded in Munich in 2019 takes it to a new level of complexity and darkness. Director Andreas Kriegenburg has added additional avatars of the children Gerda and Kay to the scene creating three Gerda/Kay pairings. There are the children as children played by actors. There’s an adolescent pair played by mezzo-soprano Rachael Wilson as Kay and an actor, Anna Ressel, as adolescent Gerda and a forty-something couple played by soprano Barbara Hannigan as Gerda and actor Thomas Graßle as Kay.

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Siberia… with Stalin… and COVID

I’m really not sure what to make of the recent recording of Giodarno’s Siberia made at the Maggi Musicale Fiorentino in 2021.  It’s certainly a rather weird experience. It’s partly that it’s a bit of an oddball of an opera, partly Roberto Andò’s production and partly that it was recorded under COVID conditions with the chorus masked and blocking that seems, if rather inconsistently, to be designed for social distancing.

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Saul in Vienna

Handel’s Saul gets another “fully staged” treatment in this recording of a Claus Guth production at the Theater an der Wien in 2021.  Inevitably it invites comparison with Barrie Kosky’s Glyndebourne version.. They are quite different though each is very enjoyable n its own way. Those not familiar with the piece might find the introduction to the earlier production helpful as I’m not going to repeat the outline of plot etc here.

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