Janáček’s Jenůfa was staged and recorded at the Staatsoper unter den Linden in 2021 under COVID conditions. There’s no audience and the chorus members, in black, are distributed all around the auditorium. Even without a live audience it’s extremely dramatic and intense.
Tchaikovsky’s Pique Dame is a rather odd opera. It’s not just that the main plot turns on a pretty bizarre tale of the supernatural but that it also contains a significant number of big set piece numbers that don’t advance the plot at all; the “military children” in Act 1, the Pastoral in Act 2 and the bizarre “Glory to Catherine” chorus in Act 3 aren’t the only ones. One assumes that they are there so that the composer could interpolate some suitably “Russian” bits because without them it’s just any other opera that happens to be in Russian.
I guess previous times I’ve seen Janáček’s Jenůfa I haven’t really noticed the role that the idea of “bad blood” or inherited depravity plays in the plot but it’s there almost as starkly as in certain works by Zola and Buchan. Perhaps one of the strengths of Christof Loy’s very clean 2014 production for the Deutsche Oper is that it tends to show up such details. It’s certainly a very low key setting. All the action takes place in a plain white room with minimal furnishing. Costuming is modern (sort of); maybe 1950s or so. Sometimes one gets a hint of rather more going on on the edge of the stage but Brian Large’s typically close up video direction makes it hard to be sure. So, at least on disk, it’s all about the characters and their interactions and they are drawn pretty clearly.
The second instalment of Patrice Chéreau’s 1980 Bayreuth Ring cycle is set, like Das Rheingold, in a sort of industrial bourgeois late 19th century. One would almost say steampunk if that were not an anachronism. Actually the “industrial” side is much less evident than in the earlier work. There’s a sort of astrolabe/pendulum thing in Valhalla but that’s about it. Setting aside, the story telling is very straightforward; so much so that it takes a real effort of the imagination to get into a mindset where this production could ever have been considered controversial. It’s quite literal; Brünnhilde has a helmet and breast and back plates (worn over a rather severe grey dress), Wotan has a spear, Siegmund has a sword. There’s not an assault rifle or light sabre to be seen. It is though dramatically effective.
So much has been written about Patrice Chéreau’s centenary production of the Ring cycle at Bayreuth that I approached reviewing it with some trepidation. I have decided to write about it “as is”; i.e. to write about what I see on the DVD and leave the undoubted historical significance, perhaps even revolutionary impact of the production, to others. Also, it’s apparent that what’s on the DVD, filmed in an empty house as was contemporary Bayreuth practice, must differ from what was seen on the Green Hill in certain key ways. This is a review of what;s seen and heard on the DVD.
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.