Catalani’s La Wally is not much performed outside Italy so I was interested to get my hands on a recording made at the Theater an der Wien in 2021. It’s about what one might expect from an Italian opera of the 1890s; an everyday story of country folk plus murder.
David Pountney is rarely afraid of taking risks in pursuit of an idea and that seems to be what’s going on in his 2008 Wiener Staatsoper production of Verdi’s La forza del destino. The basic concept seems to be to draw as much distinction as possible between the piece’s predominantly dark tone while making the ‘scherzo’ like elements as mad as possible. And occasionally mixing up the two to create deliberate confusion. To this end he uses a lot of moving set elements and projections; often fuzzily superimposed on stage action. Preziosilla and the camp followers are hot pants clad cowgirls. The full effect is seen in the Act 3 “orgy” where hospital patients, some on drips etc, interact with cow girls and a marching band while giant fuzzy B&W projections of WW2 armour play on the scrim. It’s really busy and takes some decoding.
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.