More Carsen genius

I’m a big fan of Robert Carsen. His Orfeo ed Euridice was one of the highlights of last year’s COC season and his Iphigénie en Tauride promises to be one of the events of the upcoming season. So, as you can imagine, I had high expectations for the DVD of his 2002 Paris production of Dvořák’s Rusalka with Renée Fleming in the title role. I wasn’t disappointed. The production is pure magic. It’s almost a mathematician’s production. In Act 1 he gives us symmetry in the horizontal plane. There’s a bedroom reflected horizontally floating above the water sprites’ abode which resolves itself into the bedroom that is the setting for Rusalka’s initial encounter with the prince. In Act 2 we get the same bedroom but in a left right symmetry and the movements of the characters are also mirrored with non singing actors mirroring the singers. The symmetry continues with Rusalka balanced against the foreign princess. It’s very cool. I’m guessing that Carsen is suggesting the distance between the world of the sprites and the human world diminishing then opening up again. In Act 3 we get geometrical chaos as Ježibaba’s hut is presented at crazy angles poised above the stage and all sorts of dissolution goes on before we again get the symmetrical bedroom in which the final tragedy plays out. The general concept is supported by a superb lighting plot (Carsen and Peter van Praet) that brilliantly brings out the moods of the different scenes. And there’s no clutter. Scene follows scene pretty much seamlessly. It’s terrific stagecraft.

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Capriccio

Yesterday’s Met Live in HD transmission was Richard Strauss’ last opera Capriccio. It’s a curious work and I suspect how one thinks about it seriously affects how one reacts to it emotionally. On the surface it’s a sophisticated meta opera about opera with some side splittingly funny gags about unstageable production concepts accompanied by pastiche Wagner. Taken on that level it’s funny but perhaps, ultimately heartless. When one realises that the opera was written in 1941/2 it adds a new dimension. Why has Strauss set this opera in Enlightenment Paris? Where else could be more symbolic of everything the regime he is writing under is not? This work premiered a few weeks before the German defeat at Stalingrad. Does Strauss sense that german is losing the war? Is this less an affectionate farewell to the form from an elderly composer or an elegy for an artform that may not survive the destruction of European civilization which most would have thought the inevitable consequence of a Russo-American victory (who’s to say they weren’t right?). Any way these were the thoughts that were going through my head as I watched yesterday’s broadcast and no doubt helped give the work, for me, a greater emotional intensity.

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