No, not the opera by Prokofiev but Robert Carsen’s rather brilliant take on Mozart’s Idomeneo recorded last year at the Teatro Real in Madrid*. It’s a contemporary Mediterranean setting. Crete is a completely militarised society. Everyone is uniformed and carries weapons. The Trojans are refugees living in a camp with all the pathetic accoutrements of refugee camp life. Idomeneo and Elettra stand for the traditional “Make Crete Great Again” kind of nationalism while Idamante and Ilia look forward to a world where “Us” and “Them” dissolve in our common humanity. Carsen, Neptune, this writer and, I think, listening closely to the music, Mozart side with the young lovers.
Boito’s Mefistofele is a rather odd work. It’s truer to the original Goethe than other operatic versions of the Faust legend which means it’s very episodic and focuses on the Faust/Mefistofele relationship rather than on Margherita. In fact she’s dead with an act and an epilogue still to go. It’s hard to categorize musically too. Some parts are rather bombastic, vulgar even, yet at other times we seem to be drifting into bel canto territory. So it’s a bit uneven; listenable enough but not very memorable.
Well not so much “best of” as the good stuff that really made my year. It was a pretty good year overall. On the opera front there was much to like from the COC as well as notable contributions from the many smaller ensembles and opera programs. The one that will stick longest with me was Peter Sellars’ searing staging of Handel’s Hercules at the COC. It wasn’t a popular favourite and (predictably) upset the traditionalists but it was real theatre and proof that 250 year old works can seem frighteningly modern and relevant. Two other COC productions featured notable bass-baritone COC debuts and really rather good looking casts. Atom Egoyan’s slightly disturbing Cosí fan tutte not only brought Tom Allen to town but featured a gorgeous set of lovers, with Wallis Giunta and Layla Claire almost identical twins, as well as a welcome return for Tracy Dahl. Later in the year Gerry Finley made his company debut in the title role of Verdi’s Falstaff in an incredibly detailed Robert Carsen production. I saw it three times and I’m still pretty sure I missed stuff.
Back to the COC’s production of Falstaff last night for a second look. I felt I spent so much time last week trying to figure out who was who and what was what in this rather madcap comedy that I was really looking forward to seeing it in a more relaxed way. I had figured out that there was a lot of detail to unpack that I had missed first time around; partly because I was attention challenged and partly because I had forgotten my opera glasses. Last night; perched up in Ring 5, I watched a good part of this show through the glasses and saw many things I missed first time around. I think I want to watch it from close up if I can, even if there’s an acoustical price to pay for that.
In an age of co-productions many opera productions are seen in multiple houses. Some of them we get to see in multiple guises. For example I’ve seen Tcherniakov’s Don Giovanni on DVD and will be seeing it live later this season in Toronto. Spmething that’s been fermenting in my brain for a while now is why the same production can get a drastically different reception in different places. The piece that first made me think about this was Chris Alden’s Die Fledermaus. This was generally well received in Toronto (more perhaps by my friends and acquaintances than the print media but that’s par for the course) but universally panned in London when it played at ENO. Bryan’s interesting comments about the Carsen Falstaff kicked off the train of thought again and made me want to put some tentative thoughts into writing.
Last night, the COC opened its 2014/15 season with Verdi’s Falstaff; a work I was not familiar with and one that turned out to be a bit of a surprise. It’s not your usual Verdi. It’s his last opera, composed when he was 80, and is not at all typical of his earlier work. There are hardly any “big tunes” or even conventional arias. The odd chorus harks back to an earlier style but much of the music is quite dark; heavy use in places of the lower pitched instruments, especially for a “comedy”. Don’t take that as a criticism though. It’s a musically and dramatically tight, even compact, work that is both incredibly funny and also something more disturbing. Perhaps it’s as much about mortality as love.
So what was I most impressed with on the opera and related scene in in 2013?
Big house opera
The COC had a pretty good twelve months. I enjoyed everything I saw except, maybe, Lucia di Lammermoor. Making a choice between Christopher Alden’s probing La Clemenza di Tito, the searing opening night of Peter Sellars’ Tristan und Isolde; the night when I really “got” why people fly across oceans to see this piece, Robert Carsen’s spare and intensely moving Dialogues des Carmélites or Tony Dean Griffey’s intense and lyrical portrayal of the title character in Peter Grimes is beyond me. So, I shall be intensely disloyal to my home company and name as my pick in this category the Metropolitan Opera’s production of Die Frau ohne Schatten. Wernicke’s production is pure magic and Anna Schwanewilms was a revelation.
It’s hard to fault any aspect of the new recording of Mozart’s Die Zauberflöte recorded earlier this year at the Baden-Baden festival. The soloists are consistently good, and in some cases very good indeed, Simon Rattle is in the pit with the Berlin Philharmonic and Robert Carsen’s production is beautiful to look at and thought provoking without being pointlessly provocative. Add to that first rate video direction and superb Blu-ray sound and picture quality and one has a disk that looks competitive even in the very crowded market for Zauberflöte recordings.
Christopher Gillett and I have a fair bit in common. We are both English and much the same age. We are both on second marriages to performers; the failure of our first marriages being at least partly related to the vagaries of travelling for work. We are also both tenors. There the similarities end. Mr. Gillett sings for a living which I, to the great relief of the music loving public, do not. He also does not like cats. This makes me a bit suspicious but whatever.