Decomposing Der Freischütz

There’s been a lot of talk recently about whether or not it’s legit to change text, music or dramaturgy for problem operas like Madama Butterfly.  I get pretty frustrated by this because it happens all the time in Europe, especially in the German speaking countries, a fact which seems to escape the notice of many involved in this debate.  Usually it’s the dramaturgy that gets changed.  Changes to the music are rare indeed and, traditional playing with operetta dialogue aside, the libretto usually doesn’t change.  And, of course it’s not just “problem operas” that get the treatment.  Today I’m going to write about a “concept” production of Weber’s Der Freischütz recorded at the Vienna State Opera in 2018.

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Spare and compelling Tristan

I’m rarely disappointed by a Pierre Audi production and his Tristan und Isolde for Teatro dell’opera di Roma, recorded in 2016, was far from that.  It’s a bit of a slow burn but then so, really, is the work itself.  It’s starkly simple.  The sets contain few elements and no fuss.  Costuming is almost drab but the direction of the singers is compelling and it builds to a brilliant staging of the Liebestod with Isolde silhouetted, motionless in a kind of frame and absolutely nothing happening which, paradoxically, is riveting.

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Shattering Parsifal

Dmitri Tcherniakov’s 2015 production of Wagner’s Parsifal recorded at the Staatsoper in Berlin in 2015 left me emotionally drained as I don’t think I’ve ever been after watching a recording.  I can only imagine what it must have been like to experience this live.  The combination of the production, exceptional singing and acting and Daniel Barenboim’s conducting is quite exceptional.  It’s not going to be easy to unpack it all coherently but here goes…

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Twilight

Last night the COC began its run of Götterdämmerung, the last and longest opera in Wagner’s epic tetralogy at The Four Seasons Centre.  It’s very different from Die Walküre and Siegfried.  The visual elements that tied them together; tottering Valhalla, disintegrating world ash, gantries, dancers, heaps of corpses are mostly gone.  In Tim Albery’s production the visuals are spare almost to abstraction.  The Gibichung Hall is a CEO suite with computer monitors and red couches, both Brünnhilde’s rock and the Rhinemaidens’ hang out look improvised, almost like squatters’ camps.  Costuming, apart from an occasional flashback, as in Waltraute’s scene, is severely modern business; grey suits, black dresses.  Only Siegfried himself in tee shirt and leather jacket stands out from the corporate crowd.  Dancing flames are replaced by red lights.  Everything that can be understated is and the world ends not with an overflowing Rhine and collapsing Valhalla but a stately pas de quatre between Brünnhilde and the Rhinemaidens.

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