The 2018 Salzburg Easter Festival production of Puccini’s Tosca was directed by Michael Sturminger. The only Sturminger works I’ve seen before are his rather odd Mozart collaborations with John Malkovich; The Giacomo Variations and The Infernal Comedy so I really wasn’t sure what to expect. The production riffs off film noir and is updated to more or less the present. It opens with a shoot out between Angelotti and the police but that lasts only a few seconds and the first act and the first half of the second act are fairly conventional, bar Scarpia on an exercise bike as Act 2 opens. That said, it’s big and monochromatic and it does have a noir feel. It starts to get a bit more conceptual around the Scarpia/Tosca confrontation. It’s an interesting take on Scarpia; perhaps more bureaucrat than psychopath. The relationship between the two is well drawn and Anja Harteros does a really convincing job of her build up to killing Scarpia including a first class Vissi d’arte sung from some unusual positions. There’s a hint of what’s to come at the very end of the act when an “I’m not dead yet” Scarpia is seen crawling towards his phone.
To quote a quite different opera, “it is a curious story”. In 1967 a production of Wagner’s Die Walküre, heavily influenced by Herbert von Karajan  who conducted the Berlin Philharmonic for the performances, opened the very first Osterfestspiele Salzburg. 50 years later it was “remounted” with Vera and Sonja Nemirova directing. I use inverted commas because it’s actually not entirely clear how much was old and how much new. It might be more accurate to describe it as a homage to the earlier version. In any event, it was recorded, in 4K Ultra HD, no less and released as one of the very first opera discs in that format.
Thomas Hampson and Renée Fleming teamed up for Strauss’ Arabella at the 2014 Salzburg Osterfestspiel. The production is directed by Florentine Klepper and it’s set late 19th/early 20th century and is conventional in many ways though there are a few interesting touches. There may be more than a few but video director Brian Large focusses quite relentlessly on the singers 99% of the time so it’s hard to tell. I noticed a few things. The hotel set in Act 1 is multi-room but it’s very rare that we see other than the room the principal action is in so who knows what might have been going on. There’s a use of body doubles during the Act 2 duet to create a sort of “portrait” of Mandryka and Arabella that broods over the stage for the rest of the act. The fortune teller reappears with the “trouble” card during the “key” scene. The whole Fiakermilli episode is difficult to interpret because the video gives such a fragmentary view of it. There’s certainly a couple of suggestive giant dolls. Otherwise this scene just comes off as pretty crude and lame. I suspect that there may be much going on here that isn’t on the video. This all tends to reinforce the weaknesses of the second half of Act 2 and the start of Act 3 which certainly are not Strauss and von Hofmannsthal’s best work.
The 2016 Salzburg recording of Gounod’s Faust is challenging. Perhaps the nine pages of the booklet given over to a concept discussion with the directors should have given me sufficient warning that this was not going to be Faust à la Met. It’s not. It’s extremely complex and I’m not sure I fully understand it or whether all the ideas work but I did find it fascinating visually and dramatically, and musically it’s top notch. That said, traditionalists can save themselves a trip to the ER by walking away now.
Richard Strauss’ Die Liebe der Danae is one of his least performed operas so it’s not very familiar to most opera goers. I wrote about its performance history and provided a plot summary in my review of a 2011 recording at the Deutsche Oper, which is the only video recording besides the 2016 Salzburg one which forms the subject of this post.
Vincent Brossard’s production of Verdi’s Otello for the 2016 Salzburg Easter Festival is both elegant and subtle; the latter quality being backed up by superb singing and acting from the principals. In many ways the production is clean and straightforward with a focus on character development but it also makes use of elegant lines and sharply contrasting darks and lights in creating the stage picture. There’s also a really cool use of mirrors during Già nella notte densa that I can’t quite figure out.
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…