Der Messias is the German version of Handel’s Messiah as arranged by Mozart. The translation dates from 1775 and is by Klopstock and Ebeling drawing heavily on the Lutheran Bible. My German isn’t good enough to say how “archaic” it sounds to a modern German speaker but it certainly seems to be quite singable. In any event it was presented in Salzburg during this year’s Mozartwoche in a staged version by Robert Wilson. The arrangement adds a substantial wind section and changes the voice parts in places. For example Doch wer mag entraten (But who may abide) is given to the bass rather than one of the high voices.
The Deutsche Oper’s production of Zemlinsky’s Der Zwerg, recorded in 2019 in Berlin, is directed by Tobias Kratzer who seems to be the rising star among young German opera directors. I can see why. This is a thoughtful and clever production that really does have something to say without being unduly gimmicky.
One has to recalibrate when reviewing productions from the lake stage at Bregenz. The challenges for set designer and director are very different from designing/directing in a conventional theatre. There’s an interview with Es Devlin on the disk of the 2017 production of Bizet’s Carmen that explains the issues very well but broadly it’s a question of creating a single, giant set that can be used throughout the opera and which makes a statement that integrates the work with the environment of the Bodensee. The challenge for the director, as well, as the usual ones, is to communicate the characters and story when they are rather dwarfed by the setting. S/he also has to figure out how to fit the lake itself into the story. I think Devlin and director, Kasper Holten, manage this remarkably well.
Elena Tsallagova and Sandra Horst entertained the crowd in the RBA yesterday with a flower themed recital of French and Russian songs. It was a very well chosen selection that allowed Ms. Tsallagova to display her versatility. From Debussy’s quite operatic Rondel chinois, where she showed a lot of power for a young lyric soprano, through the varied moods of Bizet’s Feuilles d’album where by turns she was dramatic, sombre and very playful. Throughout she was extremely demonstrative while managing excellent phrasing and impeccable French. She has an interesting range of colours too, from extremely bright through to quite covered and dark and she’s not afraid to use them. Actually, the way she threw herself into the material I don’t think she is afraid of much!
Late notice I guess but Adrianne Pieczonka and Rachel Andrist are performing Schubert’s Winterreise at Mazzoleni Hall this afternoon. It’s sold out anyway. Later, at 7.30pm, UoT Early Music is presenting a concert version of Purcell’s Fairy Queen in Trinity College Chapel. Tomorrow at the relatively unusual time of 5.30pm the members of the Ensemble Studio will be competing for the Quilico awards. That’s in the RBA and free. Also in the RBA, at noon on Tuesday, you can catch Andrew Haji singing a very varied Valentine’s Day program. Then on Thursday, same time, same place, Elena Tsallagova, Pamina in the COC’s current Magic Flute, presents a Russian and French program. The Magic Flute and Götterdämmerung continue at the COC.
Last night saw the first performance of this season’s run of Mozart’s Die Zauberflöte at the COC. It’s a revival of the Diane Paulus 2011 production with Ashlie Corcoran as revival director. It has a “theatre within a theatre” overlay in Act 1; it’s supposed to be an aristocratic birthday party for Pamina where the guests perform the opera, which mysteriously disappears in Act 2 though it makes an odd reprise right at the end where all the characters appear to perform a country dance. Strip that element out and it’s a workmanlike Flute with nothing much to say but some pretty visuals. The animals are cute and the trials scene is rather well done. There is one notable change from 2011. Pamina’s lurid pink Disney princess outfit is gone, replaced by something Regencyish and far less jarring.