Nicholas Hytner’s production of Mozart’s Così fan tutte, seen at Glyndebourne in 2006, is about as traditional as it gets. The story is straightforwardly told and the settings and costumes are 18th century Naples, or at least some operatic approximation of it. That said, it’s immensely enjoyable and, just occasionally, goes beyond the superficial. The strength lies in the casting and in the director’s decision to allow his young singers to behave like young people. Miah Persson as Fiordiligi and Anke Vondung as Dorabella are close to perfect in their exuberant girlishness. Naturally Vondung gets to be a bit ditzier than the angstier Persson because that’s how the thing is written. Both of them sing extremely well too and there’s nothing lacking in the big solos or duets.
David Hockney and John Cox’s production of Stravinsky’s The Rake’s Progress first saw the light of day at Glyndebourne in 1975 and there’s a video of it from back then. It’s been revived umpteen times since, all with Cox directing rather than an overawed revival director. It was done again in 2010, with Vladimir Jurowski conducting, recorded and issued on Blu-ray and DVD. It’s fascinating.
The 2013 recording of Poulenc’s Dialogues des Carmélites from the Théâtre des Champs Elysées has a cast that reads like a roll call of famous French singers; Petitbon, Piau, Gens and Koch are all there. Throw in Rosalind Plowright and Topi Lehtipuu and one gets some idea of the star power on display.
David McVicar chooses to set his production of Die Meistersinger, staged at Glyndebourne in 2011, in the 1820s or thereabouts. It’s an interesting choice as it puts German nationalism in a specifically cultural rather than political context and also rather clearly makes the point that “foreign rule” = “French rule”. That said, he really doesn’t develop any implications from that and what we get is a production typical of recent McVicar efforts. There’s spectacle aplenty and very good character development but he doesn’t seem to have any Big Ideas; for which, no doubt, many people will be grateful. The only place he seems to go a bit overboard is in laying on some fairly heavy German style humour. People who think that slapping waitresses on the bottom is the height of comedic sophistication will probably appreciate it.
Despite also featuring William Christie, Les Arts Florissants and François Roussillon, the 2004 Châtelet production of Rameau’s Les Paladins could hardly be more different from the recording of Lully’s Atys that I reviewed yesterday. The work is based on Orlando Furioso and is an utterly anarchic parody of pretty much everything that Rameau had previously written. It was considered shocking in its day. The production by José Montalvo with choreographic help from Dominique Hervieu is completely mad and tremendous fun.
In 2009 Claus Guth wrapped up his Da Ponte cycle for Salzburg with Cosí fan tutte. I really like his Le Nozze di Figaro and after seeing this Così I’ll certainly be seeking out the Don Giovanni too.
This production was staged in the Haus für Mozart and uses a single set. It’s the girls’ apartment; a very expensive looking two level loft with a broad staircase that recalls the Figaro. The setting is contemporary and it opens on the aftermath of what appears to have been a rather good party. The men are preparing to leave when Don Alfonso issues his challenge. It’s the edgiest version of the scene I’ve watched with quite an undertone of violence. This is clearly not going to be a light comedy. By Una bella serenata the characteristic feathers of the Figaro have appeared. The edginess continues throughout the first act with many deft touches, especially a power cut staging of Come Scoglio. When the “Albanians” appear there is only the most perfunctory effort at disguise. No slapstick moustaches here. Continue reading →