I’m never quite sure what I really think about an operetta like Lehár’s Das Land des Lächelns. I quite like the music, even if it can be a bit cheesey but I’m put off by the casual cultural appropriation (though it’s not nearly as bad as Puccini!). I’m not sure what the best directorial approach is either. Does one play it for froth? Does one try and mine some deeper meaning? Interestingly Andreas Homoki’s approach for his Zürich production filmed in 2017 is to play it straight and let whatever is there appear or not. It works rather well. It;s a typically lavish Zürich production with lots of colour and movement and he creates some spectacular visual effects. But he also allows for a sinister element to appear in the Chinese scenes. It may be over-interpreting but I think one can see shades of proto-Fascism here. It’s reinforced by the score that really has some rather sinister elements that I hadn’t noticed before. I think there’s even a nod to Siegfried’s Funeral March. All in all, quite interesting without being wildly unconventional.
Wozzeck is a tricky piece for a director. There seem to be two possible approaches. One can find a character for Wozzeck himself that resonates with contemporary audiences and treat the piece more or less realistically. That’s the approach taken by both Bieito and Tcherniakov. Alternatively one can run with the overtly expressionist aspects of the piece and present it in a more abstract way as Peter Mussbach did. Andreas Homoki’s 2015 Zürich production takes the second route. The piece is presented as if the characters are puppets in a puppet theatre in a sort of ultra-grim version of Punch and Judy. It’s visually quite arresting and there are some very well composed scenes. To give just one example, immediately after Wozzeck has decapitated Marie the chorus appear as nightmarish Maries while Wozzeck sits nursing the severed head. That said, the concept does pall and maybe hasn’t really got the legs, absent any other real directorial ideas, to carry the piece for two hours.
Berlioz’ Les Troyens is opera on a grand scale. Only a really big company like the Met could possibly afford to stage it. Yesterday’s performance used a chorus of 110, a larger orchestra, at least twelve soloists and a bunch of dancers. It also lasted 5 1/2 hours including the intervals. Was it worth it? For the most part I’d say yes.
I despair. I really do. Yesterday’s MetHD broadcast of Verdi’s Un ballo in maschera had so much going for it. The singing was brilliant and David Alden’s production seemed to have plenty of interesting ideas. I say “seemed” because we only got the briefest of brief glimpses of it in between the succession of close ups served up by video director Matthew Diamond. On the odd occasions we got to see more than a head or a body it was usually from a weird angle. It’s particularly irritating because the two elements of the production that seemed to be most important were the ones most ruthlessly undermined. Alden’s movement of chorus, supers and dancers and the contrast between what they do and what the principals do seems to be important but who knows? Similarly his use of contrasting spaces, especially in Act 3, is obviously important but when the viewer gets only a couple of seconds to establish the context before the camera moves in and loses it the effect is fatally weakened.
Just back from the HD broadcast of the Met’s Götterdãmmerung.
Musically, I was really quite impressed. I thought Luisi’s take on the score was original, valid and enjoyable. His tempi were generally quite quick and there was a taut, sinewy quality to the strings that really brought out the shape of the music. No romantic wallowing here! I really liked the Gibichungs; Wendy Bryn Harmer as Gutrune, Iain Paterson’s Gunther and, especially, Hans-Peter König’s Hagen. All were well sung and characterful. Jay Hunter Morris as Siegfried and Deb Voigt as Brünnhilde were really exciting in the Act 1 love duet and Deb nailed the Immolation scene, almost managing to overcome the staging. So much for the music, what about the production?
I had very mixed feelings about today’s HD broadcast of Siegfried from the Metropolitan Opera. Early reviews and comments by friends had been largely negative about the staging and there was a widespread view that “the machine” was intrusively noisy. As it turned out I was pleasantly surprised. For once Gary Halvorson’s relentless close ups were a boon. From what little we could see of them, the first and second act sets were both uninteresting and gimmicky. The 3D leaf scattering, the crudely pixellated woodbird and the laughable Wurm were just among the sillier features. To be fair , the beginning of the third act made effective use of the set but that was the only place that it did work well. So focussing on the singers made a lot of sense.