Verdi loved Shakespeare and tried to reflect the psychological depth of his characters in the operas he based on the bard. You really wouldn’t know that watching the 2008 Salzburg Festival production of Otello. There’s a lot to like in both production and performance but the emotionally monochromatic performance of the title role by Aleksandrs Antonenko, who can do every mood from fairly grumpy to furious, and the moustache twirling Jago of Carlos Álvarez rather reduce the piece to pathologically jealous nutter with anger management problem kills wife.
In the booklet accompanying David McVicar’s production of Le nozze di Figaro, recorded at the Royal Opera house in 2006, there’s an essay by the director in which he raises all kinds of questions about the rise of the bourgeoisie, the nature of revolution and romantic conceptions of love. He even appears to draw a parallel between Joseph II and Tony Blair. Then he declines to explain how he has embodied all these ideas on the stage and challenges us to “Watch, listen, participate”. Well I did and I’m none the wiser. What I see her is an essentially traditional approach; transferred cosmetically to 1830s France but so what? It’s darker than some Figaro’s but not nearly as dark as, say, Guth. Curiously, the main “extra” on the disks “Stage directions encoded in the music” tees this up much more clearly than the essay.
Yesterday, Easter Saturday, I got to see the Royal Opera House production of Wagner’s Parsifal. It was broadcast live to many locations of December 18th last year but hasn’t been seen in Toronto until now. It was very much a three act experience. At the end of the first and longest act I thought we were perhaps seeing greatness in the making. Stephen Langridge’s production concept supported by Alison Chitty’s fairly abstract modern designs were making all kinds of sense to me. At centre stage is a white, semi transparent cube serving as both grail shrine and Amfortas’ hospital room. Within it, various aspects of the back story are shown to us and it comes off as a place of knowledge; perhaps of a much deeper kind than has yet been revealed. This impression is reinforced with the unveiling of the Grail late in the act. It is a young, Christ like boy. The grail ceremony involves Amfortas cutting him to release the blood for the ceremony. There’s a lot of blood letting but it makes sense. We are seeing a very wounded and dysfunctional polity.
The 1987 recording of Berg’s Wozzeck from the Vienna State Opera is a bit of a mixed bag. Claudio Abbado’s reading of the score is incredibly intense and powerful and he gets great support from the orchestra, There’s also some very good singing. Dramatically it’s a bit of a mixed bag and the DVD production isn’t particularly good. Continue reading
Having now had a chance to watch and review all five currently available video recordings of Peter Grimes I thought I might do a summary of the strengths and weaknesses of each. All of them have some merit and I doubt that there would be consensus on a “winner”. Anyway, here goes…
BBC film 1969
Grimes – Peter Pears
Conductor – Benjamin Britten
Director – Joan Cross & Brian Large
This is an essential historical document with both composer and the creator of the role involved. The production is straightforward and naturalistic. The sound and video quality is surprisingly good for the period. It does, though, leave one with the feeling that there is more to the role of Grimes than Pears finds.
Royal Opera House 1981
Grimes – Jon Vickers
Conductor – Colin Davis
Director – Elijah Moshinsky
Also a historical landmark being the first major production where Grimes wasn’t sung by Peter Pears. It has the excellent Heather Harper as Ellen Orford. The production is quite dull and very dimly lit. Vickers’ Grimes is controversial. In places he sounds fantastic and in others sorely taxed. His acting is oddly stilted. Norman Bailey fails to convince as Balstrode. Sound and picture quality are OK.
English National Opera 1994
Grimes – Philip Langridge
Conductor – David Atherton
Director – Tim Albery
This is the production with most sense of the sea as a character brought out through innovative use of video projection. Langridge’s Grimes is intense, convincing and beautifully sung. Alan Opie is a very strong Balstrode. Unfortunately the orchestra and chorus aren’t up to rival versions and all aspects of the DVD; video direction, sound quality and picture quality are rather poor.
Opernhaus Zürich 2005
Grimes – Christopher Ventris
Conductor – Franz Welser-Möst
Director – David Pountney
This is a very fine and thought provoking production with any number of magical moments. Ventris is a first class Grimes combining power and sensitivity and the supporting performances all have merit, save perhaps for Alfred Muff’s sub-par Balstrode. The orchestra and chorus are quite superb. The performance gets a thoroughly sympathetic treatment on DVD with good video directing backed up by quite excellent sound and picture quality.
Metropolitan Opera 2008
Grimes – Anthony Dean Griffey
Conductor – Donald Runnicles
Director – John Doyle
This is a rather dull and dark production given a very eccentric treatment by the video director. Dean Griffey is a lyrical and sympathetic Grimes well backed up by the supporting cast, especially Anthony Michaels-Moore as Balstrode and Teddy Tahu-Rhodes as Ned Keene. The orchestra and chorus are excellent and Runnicles is fairly convincing though the first act drags a bit. The sound and picture quality is excellent.
La Scala, 2012
Grimes: John Graham-Hall
Conductor: Robin Ticciati
Director: Richard Jones
Richard Jones’ production, updated to the 1980s, is quirky. John Graham-Hall is quite lyrical as Grimes but slips into pseudo speech a lot. Susan Gritton fails to convince as Ellen Orford. The supporting cast, the orchestra and the conducting are first rate but the chorus is decidedly sub-par. The Blu-ray sound and picture outclasses all previous versions but, overall, this recording fails to convince.
Peter Grimes on Aldeburgh Beach, 2013
Grimes: Allan Oke
Conductor: Steuart Bedford
Director: Tim Albery/Margaret Williams
This film is a record of the unique production staged on Aldeburgh beach by Tim Albery and filmed by Margaret Williams. It’s highly atmospheric and features a brilliant performance by Alan Oke but conditions were not ideal for the singers and musically this cannot match the best available recordings from the theatre.
Humperdinck’s Hansel and Gretel was one of the earlier “Live in HD” broadcasts from the Metropolitan Opera and has been out on DVD for some time. The newness of the concept is immediately apparent in Renée Fleming’s almost awed tone as she introduces the work. She certainly sounds more blasé these days. Hansel and Gretel, given here in David Pountney’s English translation is an odd work. The libretto is much more than a Disney fairy tale. There is poverty, hunger, drunkenness, threats of beatings and murder. There is also a layer of religious sentimentality so thick it could only be 19th century and German. The score is astonishingly heavyweight given the subject matter. Humperdinck worked with Wagner and that is very, very apparent in this piece.
Unsurprisingly, modern directors have tended to emphasize the darker side of the work and Richard Jones is no exception. Hunger is the driving force here and each act is set in a kitchen. A poor peasant cottage in Act 1, a dream like banquetting facility in Act 2 and the Witch’s nightmarish cake factory cum kitchen in Act 3. Much food is thrown around and smeared over people. It’s pretty succesful as a concept if a bit one dimensional.
The performances are spectacular and based on some serious luxury casting. Alice Coote and Christine Schäfer as Hansel and Gretel are terrific, especially Schäfer. It’s a wonder to me that a beautiful and elegant woman like her can do grubby so well but she nails it every time (Cherubino in Salzburg, Lulu at Glyndebourne) and this is no exception. Alan Held is a booming father; as big in voice as he is in stature. Rosalind Plowright doesn’t sing prettily but she is utterly convincing as the depressed, shrewish, drug addled mother. Then there is the much missed Philip Langridge camping it up as the Witch. He’s like an incredibly messy Julia Child on speed. He’s hilarious. Sasha Cooke plays the Sandman and Lisette Oropesa plays the Dew Fairy complete with washing up joke. Vladimir Jurowski conducts the Metropolitan Opera Orchestra as if he was conducting The Ring and they play beautifully for him. The very well drilled Met Children’s Chorus also get a look in in the final scenes. Overall, the performance has a high degree of integrity and very high musical values. It’s a good bet for this work which I still can’t really bring myself to like.
Technically this is what you would expect from a Met “Live in HD”. No video director is credited (so far as I can tell) but it’s got about the usual quota of super close ups, including a completely gratuitous foot shot, which is actually a bit odd as the sets for Acts 1 and 2 are basically confined to a thirty foot cube so it would be easy to encompass the whole picture. The picture quality is good, not stunning, DVD standard. The DTS 5.1 soundtrack is excellent and is particularly good at bringing out the very precise orchestral playing. There is also LPCM stereo. It has the usual HD Broadcast extras. There are English, French, German, Spanish and Italian subtitles. The documentation (English only) includes track listings, a synopsis and a short essay. There is additional information in English, French and German in a PDF on the disc itself.
Britten’s Peter Grimes is pretty well served on DVD. Peter Pears’ performance was captured in a BBC broadcast in 1969 and John Vicker’s radical interpretation was captured on video in 1981. More recently Christopher Ventris and Tony Dean Griffey have also made it onto video disc. There is also Philip Langridge in Tim Albery’s 1994 ENO production which is the focus of this review.
Discussions of interpreting Grimes tend to fall into a Pears vs. Vickers dichotomy. Vickers offers a rather brutal portrayal which is consistent with the libretto but tends to downplay the subtlety of the music while Pears is almost lyrical and dreamy. Notoriously the composer greatly preferred Pears’ version and had little good to say about Vickers. Langridge doesn’t really fit either of these models. His reading is intense, veers on madness from the beginning and is totally convincing in the “mad scene” in Act 3 Scene 2. What’s harder to reconcile with this reading is the violence that can’t be avoided. Langridge’s Peter just doesn’t come across as the sort of man who would suddenly strike a woman in the face. That said, it’s a fascinating and compelling reading. It’s also beautifully sung. Parts of the role lie cruelly high (certainly too high for Vickers) but Langridge copes with ease and beauty of tone. It’s a performance to stand alongside any of the others. He’s very well backed up by Alan Opie as Balstrode who is as good as anyone else who has taken on the role (and that’s an exalted list) Janice Cairns is a pretty good Ellen Orford. She starts a bit slow but by the second act she’s singing and acting beautifully. The rest of the cast is also pretty good. Unfortunately the orchestra (conducted by the usually excellent David Atherton) and chorus aren’t up to the standard one might hope for. They are certainly not in the same league as the Metropolitan Opera forces on the DVD recorded as part of the “Live in HD” series and they just don’t have either the punch in the gut impact in the final scene that one would like or the shimmering beauty that Runnicles finds in the Sea Interludes. Some of this may be the recording (see below) but some I think is intrinsic to the performance.
Tim Albery’s production is interesting. On one level it’s quite conventional with somewhat stylized but essentially naturalistic sets; fishing boats, nets, a tavern etc. Costumes too are in the same vein; set perhaps a few decades later than originally but not jarringly so. On another it’s less obvious. He makes use of video projections in the interludes. They are black and white and switch from grainy, almost posterized, sea scenes (including some rather odd fish) to projections of Peter and his apprentice later on. They also make an appearance during the storm scene in the pub. They look a bit clunky to me. Whether that’s deliberate or the best that 1994 technology could manage I’m not sure. The detailed stage direction, both of principals and chorus, is at times very good indeed. I suspect that it’s actually even better than the DVD allows us to see. The Act 1 scene between Balstrode and Grimes made me realize that Grimes really is a tragedy. The protagonist has choices but his pride forces him towards his nemesis. I’ve never previously seen that so well brought out. The menace in the crowd scenes is palpable too. Where I’m less convinced is in Albery’s focus on the apprentice. We see visuals of him all the time and the opera closes on a projection of his corpse. He’s also portrayed as utterly terrified all the time. It’s somewhat at odds with the portrayal of Grimes and makes it quite hard to see why Ellen and Balstrode don’t smell a rat. Also, the focus on the relation between Peter and the boy downplay the role of the sea as a player in the drama. For me, the inexorability of the sea is a constant chorus element in this opera but it doesn’t come out in this production.
Now for the disappointing bit. The DVD sucks. I so wish I had seen this live! The video direction was very clearly for small screen (its from a BBC broadcast) and odd angles and super close-ups abound. One has to work quite hard to mentally reconstruct what Albery was aiming for. The sound too is poor. The only option is Dolby 2.0 and it lacks clarity. The chorus at times sounds pretty awful and I’m sure a big part of that is the recording. To cap it off there are no subtitles. That might not matter if the recording were super clean but it isn’t. The only documentation is a chapter listing. Now I was watching the North American release on the notorious Kultur label (when I hear the word “Kultur” I reach for my Browning). In Europe it was released on Euroarts and based on past experience and reviews that might well be a different story.
If the best you can do is a copy of the Kultur pressing I’d say this is definitely worth a look, if only for Langridge’s performance, but it’s by no means the best recording out there.
If Thomas Hardy had written an opera libretto he might well have come up with something like Janáček’s Jenůfa. It’s a simple rural love story with domestic violence, betrayal, desertion, bastardy and infanticide thrown in. It also has an absolutely gorgeous score mixing folkloric elements, incredible lyricism and some pulsating rhythmic sections. The opera was substantially modified after it’s 1904 Brno premier but in 1989 Glyndebourne put on the original Brno version in a production by Nikolaus Lehnhoff. It’s a three acter and opens with with scenes around a mill owned by Jenůfa’s fiancé, Števa. It’s all a bit cramped and old fashioned looking; probably a function of the small stage in the pre-reno Glyndebourne. Acts 2 and 3 take place inside Jenůfa’s foster-mother’s (Kostelnička) house and here the small stage makes the fairly simple room appropriately claustrophobic. What makes this performance worth seeing though is not the staging but the performances by the three principals; Anja Silja as Kostelnička, Roberta Alexander as Jenůfa and Philip Langridge as Jenůfa’s other suitor, Laca. They are backed up by a superb performance by Andrew Davis and the London Philharmonic. Davis just has an uncanny ability to wring every drop of lyricism out of score without sacrificing drama or forward momentum and he does it here every bit as well as he did in Ariadne at the COC back in May. Other reviews of this DVD that I have read have focussed heavily on Silja’s Kostelnička. I can see why. She is not far short of a force of nature and she drives the drama, especially in the horrific second act and the final scene. I think though that Alexander’s Jenůfa is just as important. She contributes the lyricism in the singing. It’s not that she lacks drama, she doesn’t, but she has a sweet toned voice that carries that element of the music through all three acts. Langridge’s Laca impressed me too. In Act 1 I wasn’t at all sure. He seemed miscast with the role not offering much for his stylish lyrical tenor but he grew on me during the more domestic bits of Acts 2 and 3.