Shortly after their marriage in 1996 Angela Gheorghiu and Roberto Alagna appeared together in Donizetti’s L’elisir d’amore at Opéra de Lyon. At the time she was 31 and he was 33 so pretty much ideal for the roles. The production was directed by Frank Dunlop. It’s straightforward, set in the 1920s and essentially traditional though there are a few nice touches. It’s what the recent COC production might have been if the asinine attempts to be “relevant” had been ditched.
Thomas Hampson and Renée Fleming teamed up for Strauss’ Arabella at the 2014 Salzburg Osterfestspiel. The production is directed by Florentine Klepper and it’s set late 19th/early 20th century and is conventional in many ways though there are a few interesting touches. There may be more than a few but video director Brian Large focusses quite relentlessly on the singers 99% of the time so it’s hard to tell. I noticed a few things. The hotel set in Act 1 is multi-room but it’s very rare that we see other than the room the principal action is in so who knows what might have been going on. There’s a use of body doubles during the Act 2 duet to create a sort of “portrait” of Mandryka and Arabella that broods over the stage for the rest of the act. The fortune teller reappears with the “trouble” card during the “key” scene. The whole Fiakermilli episode is difficult to interpret because the video gives such a fragmentary view of it. There’s certainly a couple of suggestive giant dolls. Otherwise this scene just comes off as pretty crude and lame. I suspect that there may be much going on here that isn’t on the video. This all tends to reinforce the weaknesses of the second half of Act 2 and the start of Act 3 which certainly are not Strauss and von Hofmannsthal’s best work.
Jonas Kaufmann made a double role debut as Turiddu and Canio in the classic verismo double bill of Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci at the Salzburg Easter Festival in 2015, The productions were directed by Philipp Stölzl and Christian Thielemann conducted with the Staatskapelle Dresden in the pit.
Edita Gruberova in recent years has pretty much cut her repertoire down to a handful of bel canto roles; Elisabetta in Roberto Devereux and the title roles in Anna Bolena, La Straniera, Norma and Lucrezia Borgia. The last of these was recorded in Munich in 2009 in a production by Christof Loy for the Bayerisches Staatsoper. It shows that Gruberova still very much at the height of her powers but the production is less satisfactory.
I guess previous times I’ve seen Janáček’s Jenůfa I haven’t really noticed the role that the idea of “bad blood” or inherited depravity plays in the plot but it’s there almost as starkly as in certain works by Zola and Buchan. Perhaps one of the strengths of Christof Loy’s very clean 2014 production for the Deutsche Oper is that it tends to show up such details. It’s certainly a very low key setting. All the action takes place in a plain white room with minimal furnishing. Costuming is modern (sort of); maybe 1950s or so. Sometimes one gets a hint of rather more going on on the edge of the stage but Brian Large’s typically close up video direction makes it hard to be sure. So, at least on disk, it’s all about the characters and their interactions and they are drawn pretty clearly.
Last night I ventured forth to experience another way of presenting “opera” at the cinema. It was a film called Jonas Kaufmann – An evening with Puccini and was based around a recording of a concert Herr Kaufmann gave at La Scala last year with the Filarmonica della Scala conducted by Jochen Rieder. The full program is here.