Tag Archives: salzburg

Petitbon’s Lulu

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Vera Nemirova’s production of Berg’s Lulu was recorded in the Haus für Mozart at Salzburg in 2010.  It’s presented in the now conventional three act version completed by Friedrich Cerha.  The sets are painterly, including in Act 1 a giant painting of the title character.  Lighting is used to create a very distinct palette for each scene and the detailed direction of the actors is careful and effective.  I didn’t see any big ideas but then on this video recording, if there had been any, they would likely have been lost in the incessant close ups and strange camera angles.  One “trick” perhaps is that much of the action in Act 3 Scene 1 takes place in the auditorium with a fair bit of confusion as the actors hand out fake cash to the punters.  This is, of course, the scene where the glitterati go broke so perhaps some irony is intended.

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Die Soldaten

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Berndt Alois Zimmermann’s Die Soldaten was something of a sleeper hit at the 2012 Salzburg festival and is now available on DVD and Blu-ray.  It’s a peculiar work.  It’s very episodic and requires massive forces.  There are 16 singing and 10 non-singing roles, a 100 piece orchestra, a jazz band and more.  At Salzburg the scale was magnified by staging it in the Felsenreitschule, using the full 40m width and enormous height of the stage.  I’ve included some full stage shots in the screen caps to give an idea of how huge this all is.  They can be expanded to full size Blu-ray caps (roughly three times the size of the image in the review).

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Schade rocks

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Today’s summer second thought is the 2004 Salzburg festival production of Purcell’s King Arthur.  I really enjoyed this first time around and I think it stands up extremely well to repeat viewing.  I pretty much stand by my original review but certain aspects of the production did stand out on repeat viewing.  The first thing that struck me is how these English 17th century works are very much a blend of the vulgar and the sublime (one could argue that that is the defining characteristic of English culture; from Chaucer to Trooping the Colour).  This production, like Jonathan Kent’s The Fairy Queen, successfully blends the two elements.  There’s a really good example at the very end where Michael Schade’s panty strewn rock star “Harvest Home” is followed by a gorgeous and dignifieed “Fairest Isle from Barabara Bonney but there’s lots more; much of reinforced by the sort of special effects that a Restoration audience would have loved.  There’s also some real depth in how it’s done.  First up I found the Merlin dressed as banker’s wife episode very funny but just that.  On rewatching I realised that much more is going on as the scene segs into Merlin explaining to Arthur that everything around him is an illusion.

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Summer second thoughts

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The heat and humidity of a Toronto summer aren’t especially conducive to dealing with most of what’s in my DVD review pile right now (Wagner chiefly!) and the live music pickings are slim as, Toronto Summer Music Festival aside, music has departed for the land of moose and loon.  I thought, therefore, that I might take another look at some old favourites and see how they shape up to a second look.  I thought I’d focus on works where I have seen many subsequent productions or, perhaps, on works once seen only on DVD but which I had more recently been able to see live.

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The raptur’d soul

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Christof Loy’s production of Handel’s late oratorio Theodora was a critical and popular success at the 2009 Salzburg Festival and deservedly so.  That said, certain decisions seem a bit perverse.  The G minor organ concerto HWV 310 is interpolated in Part 3, which is fine, but why cut a fine number like “Bane of virtue” in Part 1 or “Whither, Princess,do you Fly?” in Part 3?  There are a bunch of other, rather odd, cuts in Part 3.  Still it doesn’t do serious damage to a fine performance of an interesting production.

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Wonky androids

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I’m a pretty Regie friendly guy but I confess to being quite bemused by the 2006 Salzburg production of Mozart’s Ascanio in Alba.  Some of the production concept I totally get.  Removing the unaccompanied recits and replacing them with two actors speaking a summary (in German) makes all kinds of sense.  It reduces a sprawling pastorale with minimal plot to something half the length while keeping all the good music.  The wonky android chorus, the hero apparently with severe motor neuron disease and Aceste shunting Silvia about in a wheelbarrow I had more problems with.  The Gumbie chorus seemed particularly odd and the costumes, well see for yourself.

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Into the woods

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Claus Guth’s 2008 Salzburg production of Don Giovanni divided the critics along entirely predictable lines.  It’s a very unusual treatment of Don Giovanni but the concept is stuck to with real consistency and it works to create a compelling piece of music theatre.  The treatment on video too is not straightforward and, in a sense, the DVD/Blu-ray version is as much the work of Brian Large as it is of Claus Guth.

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At any price

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Hans Werner Henze conceived of L’Upupa und der Triumph der Sohnesliebe as his farewell to the stage although, as it turned out, it wasn’t.  It’s a combination of Arabian Nights type themes crossed with elements from German folklore not unlike Die Zauberflöte, which is an obvious infuence.  So obvious, in fact, that in the scene where Kasim rescues his beloved she is given a line straight out of Schikaneder.  For the 2003 world premiere in the Kleinesfestspielhaus in Salzburg, director Dieter Dorn and designer Jürgen Rose chose a simple stage concept.  The action is encircled by an arch, at the apex of which is a tower room.  The old man, the ruler of the principality, inhabits the room.  The action mostly takes place in brightly coloured scenes under the arch.

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Full of sound and Furies

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When I first encountered Richard Strauss’ Elektra as a teenager I found the music almost unbearably harsh.  The more I listen to it the more erroneous that judgement seems.  It has its “tough” moments to be sure.  How could an opera about Elektra not?  But it is also full of lush romanticism and there are some really quite lovely passages.  In the 2010 Salzburg Festival recording Daniele Gatti explores both sides of the music in a rather thrilling reading of the score aided and abetted by the Wiener Philharmoniker and a pretty much ideal cast.

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Almost ideal Idomeneo

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The 2006 Salzburg production of Idomeneo seems to me to be just about ideal.  The production is clean and consistently interesting without ever getting too far away from the core story and the pretty much unbeatable cast is backed up by the period sensibilities of Roger Norrington and the Salzburg Camerata and Bachchor.  The only fly in the ointment is the utterly heinous video direction.

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