Past Production Reviews
11During di Luna’s cabaletta “Per me ora fatale”, Thomas times a comedic moment absolutely spot on. The soldiers sing something like “Let’s go, let’s hide in the shadows” as they try to leave, bringing the Count with them, but he keeps heading back centre stage to bellow out his cabaletta, so they get all frustrated, roll their eyes and again try to drag him away, but no, there he goes again. The timing of the music perfectly fits this silly gag, which I found pretty funny.
Die grosse Sopran-Rolle der Oper, die Adelige Leonora, wurde von der wunderbaren lettischen Sopranistin Marina Rebeka gesungen, die ihren Part mit flexibler, in der Höhe strahlender, aber gleichwohl eher dunkel-timbrierter Stimme ausgezeichnet interpretierte. Die Koloraturen der Cabaletta der leidenschaftlich gesungenen Arie “Tacea la notte placida”, gelangen ihr vorzüglich, während das von wunderbaren Orchesterfarben getragene, fast im Raum schwebende “D’amor sull’ali rosee” mit dem darauf folgenden Miserere und der Cabaletta “Tu vedrai che amore in terra” magische Opern-Momente erzeugte.
Vocally, there was a great deal to admire. The opera can hardly be considered anyone’s favourite Verdi, but is certainly a fine vehicle for Verdian voices. Christian Gerhaher, best known for Schubert Lieder and modern works, sang the role for the first time last year, and I felt that – fine as a singer he undoubtedly is – he is not quite right for Simon. Tézier’s rich, deep voice is, however, simply perfect for the role, and each note a feast for the ears. Gerhaher may be the more nuanced actor, but give me the voice each time. Jennifer Rowley continued to impress as Amelia after a slightly bumpy start – top notes spot on. Christof Fischesser was in very fine voice, his low notes always something to look forward to. The strong baritone of Nicholas Brownlee as Paolo added to the excellent vocal mix. Brent Michael Smith as Pietro was a firm bass. The sextet at the end of Act I was glorious.
Marco Armiliato led the Philharmonia Zürich in a very energetic rendition, at times with a heavy hand. This was especially noticeable in the cavatina of the soprano “Come in quest’ora bruna”, where the orchestra “rolls”, imitating the waves of the sea. Here, the result was more a train running over the delicate, sweet rendition of Jennifer Rowley (Amelia). Globally, however, the orchestra was exciting and engaging, with sweeping phrasing and remarkable brass sound.
They even manage somewhat to navigate the impossible scene in Act 2 when all three main characters are in bed together, Isolier dressed up as Adèle, the deceived Count Ory passionately embracing him, Adèle hiding in Isolier’s arms. The scene is not exactly believable, but it’s pretty funny. Rossini recycled most of Il viaggio a Reims’ music for this farce, adding an unusually short and unimpressive overture, a couple of charming duets, and a sensational trio for the three-in-the-bed scene. It is astonishing how Rossini manages to write spectacular music for the silliest of situations. This scene (worthy of panto) requires the whole toolbox of an experienced singer: legato, precision, control, coloratura, perfect intonation and (most of all) elegance. How you sing with elegance when you are pretending to be in bed with all the wrong people and everybody is guffawing in the audience is beyond me, but the trio of principals in Zurich did precisely that, and it was great.
Der wollüstige Graf Ory will von der kriegsbedingten Abwesenheit vieler Ehemänner im Land profitieren, verkleidet sich als Eremit und als Nonne, um sich so an die Frauen, welche ein Keuschheitsgelübde abgelegt haben, heranzumachen, wird aber immer wieder enttarnt und muss schliesslich von dannen ziehen, ohne zum Ziel gelangt zu sein.
George Petean sang mit weich timbrierten und kultiviertem Bariton einen mitreissenden Macbeth, dessen ausgezeichnete Technik und markante Bühnenpräsenz insbesondere in der grossen Szene des Macbeth mit den Hexen im dritten Akt, in dieser Inszenierung als inneren Monolog gestaltet, wahrlich beeindrucken konnte. Auch die grosse Schlussarie «Pieta, Rispetto, amore» schaffte es beinahe Mitleid mit diesem blutrünstigen Charakter zu erwecken.
Côté régie, le célèbre patron de la Komische Oper de Berlin, Barrie Kosky, propose une vision particulièrement sombre et noire de Macbeth, au propre comme au figuré, avec un plateau dénué de tout élément de décor et plongé dans l’obscurité. De simples faisceaux lumineux formant une ligne de fuite vers le fond de la scène, et un abat-jour sous lequel les deux protagonistes se réfugient la soirée durant, sont les seules sources de lumière en même temps que les seuls éléments scénographiques – si l’on excepte quelques chaises qui servent également de perchoir à des corbeaux. Des oiseaux, ou plutôt leurs cadavres, que l’on retrouve sur le corps inanimé de Macbeth pendant que résonne l’ouverture, qui voit aussi une masse compacte de corps nus (les sorcières) émerger des ténèbres du fond de la scène, pour se rapprocher progressivement, à pas lents, vers le héros (photo), et l’engloutir de leurs corps flasques (parmi lesquels de nombreux transsexuels ou personnes âgées). Les chœurs (magnifiques !) sont eux cachés en coulisse, pour mieux mettre le couple damné au centre de l'action, de même que cette masse informe de corps obscènes, que les éclairages de Klaus Grünberg rendent encore plus fantomatiques. Une vision glaçante et mortifère, tout en visions cauchemardesques, qui dit et répand la solitude et le néant.
Liparit Avetisyan was heroic in his limping on the side of the stage, but the obvious pain he was in didn’t hinder his performance. His tenor was youthful and enthusiastic, with bold high notes, a bit on the boisterous side, which doesn’t hurt, in this role. In the other “minor” roles, I want to mention Nadezhda Karyazina as Maddalena, whose deep, strong mezzo really made an impression, and provided a proper foundation for the wonderful Act 4 quartet “Bella figlia dell’amore”.
