The Salzburg Festival rarely does operetta but in 2019 they decided to commemorate the 200th anniversary of Offenbach’s birth with a new production of Orphée aux enfers by Barrie Kosky. With Kosky and comedy one sort of knows what to expect but there’s always something very original. Here, in order to get the (German) dialogue as crisp as possible he takes it away from the singers and gives it to a new character; John Styx, played by actor Max Hopp, who not only speaks all the dialogue in an amazingly wide range of voices but also produces all the sound effects. The only other character who speaks is Anne Sofie von Otter as L’Opinion publique and even she is doubled by Hopp. Not that the singers have nothing to do during the dialogues. They pantomime their words, often in quite an exaggerated fashion and to great effect.
I’m not, in the normal run of things, a huge fan of obscure bel canto operas. A very long list of them languish in obscurity for very good reasons. So, my hopes were not all that high when I stuck the 2015 Glyndebourne recording of Donizetti’s Poliuto in the player. I was wrong. This is probably the best martyrdom opera from Glyndebourne since Peter Sellars’ production of Theodora in 1998.
One rather gets the feeling that the 2016 Glyndebourne production of Rossini’s Il barbiere di Siviglia was built around the lady of the house. It makes a lot of sense. There may have been better singers in the role of Rosina but I doubt there has ever been a better mover than Danielle de Niese. She’s matched move for move, eye candy for eye candy by the guys; Björn Burger as Figaro and Taylor Stayton as Almaviva. There’s more mature comedy from the always fantastic Alessandro Corbelli as Bartolo and the irrepressible Janis Kelly as Berta.