It’s the 73rd anniversary of the liberation of Auschwitz by troops of the Red Army and I’ve been watching a recording of Miecyslaw Weinberg’s The Passenger. The opera was written in 1968 but the political climate in the then Soviet Union meant that, despite the advocacy of Dmitri Shostakovich, it had to wait until 2010 before it was given a fully staged performance. That happened, and was recorded, at the Bregenz festival in a production directed by David Pountney.
Claus Guth’s 2006 production of Ariadne auf Naxos recorded at the Opernhaus Zürich in 2006 is a compelling piece of theatre. It’s one of those Regietheater pieces that combines a workable concept with compelling Personenregie to create a whole that’s extremely illuminating. The entire Vorspiel is played out, in modern dress, in front of a grey curtain. We get an immediate idea of how Guth is going to explore/exploit metatheatricality as soon as the Haushofmeister appears. He’s played by none other than Zürich Intendant Alexander Pereira. Who is calling the shots? This is reinforced when he drops the bombshell that the opera seria must be combined with Zerbinetta’s farce. This speech is delivered by Pereira from among his guests in the Intendant’s box. It’s very clever. But there’s so much more going on during the Vorspiel. The Komponist is getting seriously deranged; perhaps even more so after he begins his infatuation with Zerbinetta. There’s a moment when it looks like a love triangle is being set up. The diva just gives one look that suggests that she’s got her eyes on the Komponist. It’s a typical moment. A look, a gesture, seems to convey so much. It all concludes with the deranged Komponist shooting himself.
Katharina Thalbach sets her Fidelio, filmed at Zürich in 2008, somewhere in the early 20th century. Most of the costuming suggests very early but Don Pizzaro’s suit suggests 20s/30s gangster. Maybe he’s just fashion forward. The story telling is fairly straightforward and there’s no big concept. There are a few, smallish, touches. For example, the prisoners seem to be playing basketball with Don Pizarro’s head in the conclusion. The sets are literal but evocatively lit and rather effective.