After seeing Peter Sellars on Monday night I decided that (a) I had to see Ben Heppner as Tristan and (b) I couldn’t wait until next Friday when I have tickets to see Michael Baba in the role. So, I skipped out of the office yesterday morning and with a little help (thanks Sergey!) scored a standing room ticket for last night’s opening. (At $12 for nearly five hours music this was a remarkable bargain!). I’m back at my desk on five hours sleep and I’m still in shock. This will go down in legend.
I’d only seen Tristan und Isolde once before, in a disastrous MetHD broadcast, which had been so irritating that the music left little impression. Other times I’d attempted it on DVD I couldn’t get past the nothinghappensness of it. Last night I finally got it. In Sellars’ production not much happens on stage. The singers, in non descript monochrome outfits, come and go or stand around in square light spots. They gesture in characteristically Sellarian fashion but it’s almost classic “park and bark”. But, and it’s a huge but, behind them there is a giant screen on which videos by Bill Viola play more or less continuously and through them he evokes time and place and we see the inner journeys of the characters. It’s really hard to describe but it works brilliantly. To counterpoint the long meditative sections, when there is action it often happens off stage. The chorus sing off stage from various parts of the house and characters, too, appear on the orchestra apron or high up in the Rings. These action moments are often accompanied by lighting that encompasses the auditorium and implicates us in the action (but not the dark inner journey of Tristan and Isolde). It’s great. (1)
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Last night saw the COC Ensemble Studio’s annual main stage performance. This year it was Mozart’s La Clemenza di Tito in a Christopher Alden production. It’s a somewhat quirky production that I haven’t fully digested yet and may need to wait until after seeing the main cast on the 22nd to come to a more considered view. My initial reaction is that it has a lot of interesting ideas, maybe one or two misguided ones and that the whole thing, while interesting, isn’t completely coherent. That said, Alden productions often seem more coherent second time around. And whatever I might think of the production, it didn’t distract from some very fine performances.
operaramblings 