Olivier Py’s production of Wagner’s Der fliegende Holländer, filmed at the Theater an der Wien in 2015, is quite unusual. Usually opera productions either play the story more or less straight or work with a concept of the director’s that is not obviously contained in the libretto. Py doesn’t rally do either of these. What he does is present the narrative as Wagner wrote it but with visuals that act as a sort of commentary on, rather than a literal depiction of, the action being described. One of the things this does is make the viewer realise just how much Wagner is describing! There is much more tell than show.
Once in a while one comes across a disk that sounds like it could be interesting but turns out to be a bit of a bust. That was certainly my experience with the recording of Mozart’s Davide penitente recorded in Salzburg during Mozart Week in 2015. On the face of it using the Felsenreitschule for something like its original purpose isn’t such a bad idea and the idea of choreographed horse “ballet” to a Mozart cantata is quite intriguing. On the face of it…
Despite a thin to non-existent plot and music that sounds like a remix of all the other Offenbach operettas, La Grande-Duchesse de Gérolstein, performed by largely French forces and recorded at the Théâtre du Châtelet in 2004 is a highly enjoyable romp. The plot centres on the susceptibility of the Grand-Duchess to fall rather hard for younger men. This makes it a perfect vehicle for Felicity Lott who rather seems to specialise in such roles; whether Strauss’ Marschallin or La Belle Hélène. She’s brilliant. She sings gorgeously except where she doesn’t want to and her comic timing is impeccable. She’s well backed up by Yann Beuron as the young soldier Fritz who she promotes from private to général-en-chef without swaying his affections for his sweetheart Wanda sung by the irrepressible and cute Sandrine Piau. The slapstick element is provided by François Le Roux, as Le Général Boum, Franck Leguérinet as Le Baron Puck and Eric Huchet as Le Prince Paul who are set on getting the Grand-Duchess to marry Paul even if it means murdering Fritz. They get lots of up tempo numbers that sound as if they are singing a Korean restaurant menu.
The 2011 production of Handel’s Alcina at the Wiener Staatsoper marked the first time Handel, or any other baroque work, had appeared in the house since Karajan’s reign in the 1960s. In mounting it they went big. There’s a starry cast headed by Anja Harteros, Marc Minkowski and Les Musiciens du Louvre – Grenoble, a large group of dancers and former Royal Shakespeare Company boss Adrian Nobel. It paid off.
The second half of the Amsterdam double bill that opened with Iphigénie en Aulide is, of course, Iphigénie en Tauride. In this piece the more usual version of the Aulis story, where Diana substitutes a stag for Iphigenia on the altar and whisks the girl off to be her priestess among the savage Scythians of Tauris, is assumed. So the piece opens with Iphigenia and six other Mycenean priestesses (how they got to Tauris is a mystery) in Diana’s temple at Tauris where their job is to sacrifice any strangers who show up. Almost at once the capture of two Greeks is announced. They turn out to Iphigenia’s brother Orestes and his sidekick Pylades and the the next 90 minutes turns on Iphigenia failing to sacrifice either of them.
Gluck’s Iphigénie en Aulide is finally available on Blu-ray and DVD. It was staged and recorded as a double bill with Iphigénie en Tauride at De Nederlandse Opera in September 2011 in productions by Pierre Audi. It’s excellent in just about every respect. The cast is to die for, the production is interesting and so is the staging in the rather challenging space of The Amsterdam Music Theatre, which also poses problems for the video director. Backed up, on Blu-ray, by a 1080i picture and DTS-HD-MA sound it’s a pretty compelling package.
Rameau’s Plateé is a comedy in three acts with the obligatory allegorical prologue and lots of ballets. It tells the story of the bizarrely ugly water nymph Plateé. In an attempt to calm down Juno who, as usual, is angry at Jupiter’s infidelities, Mercury and the satyr Citheron arrange for Jupiter to pretend to fall in love with and marry Plateé. Juno arrives during the wedding in a fury but when she sees Plateé she realises the joke and is reconciled with Jupiter. Plateé returns, distraught, to her swamp. It’s all really rather cruel but does have a few good jokes.. and lots of ballets.