Ich lausch dem Gesang: Siegfried at the Met

Despite some very fine singing, and some very fine orchestral playing, the Met's new Siegfried was less than fully satisfying. Robert Lepage promised hyperrealism, and this he delivered; the Machine has come into its own as a representational set. But that is all it is (and it nearly ground to a halt, with ominous clanking, between the second and third scenes of Act III; that Siegfried did not fear the fiery cliffs was indeed impressive.) The visual influence of Fritz Lang was apparent, and I was reminded of a cherished childhood possession, The Story of Siegfried. This is more than a failure to provide a clear and consistent interpretation; this is a problem. Siegfried is the only one clad completely in "medieval" costume; the rest are more directly inspired by the nineteenth century. I find it hard to believe that anyone charged with directing the Ring could be unaware of, or insensitive to, the problems in depicting Mime and Alberich in working-class clothes of the nineteenth-century, and then making them unrepentant and unsubtle schemers against our nature-child hero. Worse: Mime is made into a child-stealing hunchback. This allows Lepage to visually echo, in the dying Sieglinde's futile reach for her child, the dying Siegmund's reach for his wife. But: that is not how you deal with the question of whether or not Mime is an antisemitic caricature, Robert Lepage. [Update: Likely Impossibilities has a post about this.] After this, Brünnhilde as Pre-Raphaelite fantasy--Waterhouse would have been proud of that radiant, autumn-haired woman, shift-clad in a meadow--seemed positively innocuous. The few non-literal touches in the staging--Wotan causes the sun to turn blood-red in Act I, and unrolls the bark from around his staff in Act III--I found more confusing than illuminating.

Sui maccheroni il cacio v'è cascato: Barbiere di Siviglia

My theory that it's impossible to leave a good Rossini performance without a smile on your face (and at least one fragment of melody stuck in your head) stands. Despite some less-than-inspired conducting from Maurizio Benini, Wednesday's Barbiere made for a thoroughly enjoyable evening, with fine singing and fine acting from all. Isabel Leonard's vivacious, brilliantly sung Rosina was a delight, as was Rodion Pogossov's irrepressible Figaro. Bartlett Sher's production could be accused of having a gimmick or two too many, but I think the frothy exuberance of it suits the plot and music well.

The conducting of Benini did not strike me as rising to the level of the singers. Tempi were workmanlike, and there was not much dynamic nuance, either (the orchestra almost covered the singers at a few points.) I think I noticed Isabel Leonard and Samuel Ramey giving subtle cues to keep the conductor with them during their arias; this helped. Rossini's score still triumphed, but I wished it had been handled with a lighter touch. The singers, thankfully, handled Rossini's bel canto flourishes and no less extravagant comedy with panache. Maurizio Muraro gave a splendid buffo turn as the deluded Dottor Bartolo, with a warm, solid bass and a perpetually put-upon air. The Don Basilio of Samuel Ramey, who sang with comedic relish and vocal assurance, was likewise a treat.  Ramey's vocal gravitas was used to hilarious effect when the rest of the company is trying to pack him off to bed, and "La calunnia" was a delight.

Alexey Kudrya, in his Met debut, made an ardent Almaviva. He sang with great musical sensitivity, and his serenades to Rosina were lovely. ("Cessa di più resistere" was omitted, which I thought very wise, given that Kudrya sounded somewhat thin at the top of his range.) Isabel Leonard gave the best performance I've heard from her; she handled the challenges of the score not only with skill, but with grace and wit. Rosina's runs and trills were executed beautifully, and were made an integral part of Leonard's vivacious portrayal. Rodion Pogossov was her theatrical equal: a cheeky, charming, and apparently tireless Figaro. With vocal charisma and agility, he was quite plausibly the indispensable engineer of events he claims to be. He shone especially in the duets with Kudrya and Leonard (and of course in their hilarious trio.) It may be cold and rainy in New York, but in sunny Seville, all's right with the world.

Curtain call photos:

Maltese Tenor: Joseph Calleja launches CD at LPR

Having eagerly awaited the U.S. release of Joseph Calleja's new album, I ventured down on Monday to hear him perform at Le Poisson Rouge in honor of its launch. This was, for me, an adventure outside my comfort zone. Walking down Bleecker Street, I passed the building with the suited men in clipboards supervising its entrance, which was further presided over by an oversized fish skeleton. I was sure it couldn't be the place I wanted. It was. "Where do I get my ticket?" I asked the man who stamped my hand. "That is your ticket," he said pleasantly. Oh. The staff were friendly and accommodating to me and the other confused-looking folk who were clearly outside their usual concert-going habitat as well. I'm still not sure how I feel about black paint on the walls. "It was like a scary Bond villain lair!" I wailed to the Beloved Flatmate later. "Or... a club?" she said. Oh.

Propped against a pillar, I tried to take deep breaths. Calleja was greeted by the audience with enthusiastic applause, and greeted us in turn with warm cheer which did much to help me relax. In addition to singing, he provided buoyantly good-humored banter throughout the evening. (Announcing the album: "The original project concept was The Three Maltese Tenors, but the other two candidates were a dog and a falcon.") And then he sang. "Ma se m'è forza perderti" was the bold opener, and for me one of the highlights of the evening. Calleja's rendering was elegant and impassioned, and I understood every syllable.

Poetry in the Pity: Britten's War Requiem with the LSO

I was not in the forefront of the standing ovation for Sunday's performance of the War Requiem. This was because I was shaking and my legs had gone rubbery. My Really Shameful Confession is that, in listening to recordings, my admiration for the ambition and intelligence of the piece remained somewhat detached, not to say dutiful. The reading provided by Gianandrea Noseda and the London Symphony Orchestra was taut and unsparing. Strings shivered; there were fearful fanfares and sad bugles; the percussion was appropriately terrifying. There were angular, angry crescendos that were as much barbed wire as cathedral spires; pianissimi hushed with reverence, and hushed with fear. The London Symphony Chorus was likewise superb, with sharp diction, impressive dynamic nuance, and great attention to the needs of the text (the eerie "Dies irae" comes to mind particularly.) The American Boychoir, performing offstage, contributed sensitive work as well.

Missa Solemnis: Beethoven with Sir Colin Davis and the LSO

"Even as I apologize for my bad handwriting, I ask God to pour his blessings richly on Yr Highness' head. Your new career, which is so concerned with the love of humankind, is surely one of the finest [schönsten], and Yr Highness is sure to be one of the finest examples--in secular or spiritual affairs--in it." --Beethoven writing to the Archduke Rudolph, 3 March 1819.

In preparing for Friday night's concert with the London Symphony Orchestra, I read about the work's genesis (Beethoven was a writer of surprisingly entertaining letters,) happily cycled through recordings, and dutifully consulted the Cambridge handbook. Then I went, and lost myself in sound: sound solemn and exultant, earthy and sublime, reconciling those apparent dichotomies in a way unmistakably Beethoven's own. This was my first time hearing the LSO live, and I was impressed by their clean, full sound and by the grace with which details emerged from the whole. The orchestra seemed keenly attuned to Davis' impassioned conducting. Despite very deliberate tempi, the energy of the piece never flagged. The contrasts built by Beethoven between the movements, and even between sections of movements, were emphasized, but these contrasting parts came together to form a magnificently coherent whole.

La bella scena: I due Figaro at Amore Opera (U.S. premiere)

Amore Opera's season continues ambitiously, with the American premiere of I due Figaro, an 1826 opera by Saverio Mercadante. Following the recent rediscovery of the manuscript score in Madrid, Mercadante's work returned to the stage in Salzburg this summer under the auspices of Riccardo Muti (production video here.) The festival of Figaro operas Fred Plotkin speculated about at the time is now being brought to the stage by Amore Opera. I due Figaro postdates Rossini's Barbiere, and its narrative is the latest of the Mozart-Rossini-Mercadante triad, but it is based not on the third part of Beaumarchais' trilogy, but on a French play of 1795. Mercadante's setting of the libretto by Felice Romani not only exploits its comedy, but explores its emotional subtleties. The controversial plot sees Count Almaviva's attempts to assert himself as a domestic tyrant aided and abetted by Figaro. The latter is considerably changed here from his earlier incarnations: he wants to remain in his master's good graces, and earn a considerable fee, by promoting the suit of the socially ambitious lackey who wants to marry Inez, the daughter of the Almavivas. Inez, however, loves another: Cherubino, who has grown into a handsome and self-assured colonel (and is still a mezzo.) Poor Inez despairs with the extremity of the adolescent she is, and Rosina wants to help her daughter marry for love ("What misery," she sings in her aria, "to marry for convenience alone!") The hundred tricks in this opera, though, are chiefly carried out by Susanna. As the latter says, "Alfin siam femmine, cervello abbiamo"; after all, we are women, and are clever. This explicit overturning of the right order of the world--the libretto plays extensively with the idea of the household as a microcosm of society at large, and the count's 'rightful place' at its head--scandalized conservative regimes of the early nineteenth century, and makes for delicious and thought-provoking comedy.

Whether thanks to longer rehearsals or the bel canto experience of conductor Gregory Buchalter, the orchestra seemed more coordinated and energetic in the Mercadante than the Mozart. There were a few moments where stage and pit threatened to come unstuck, but on the whole things were carried off smoothly and with sensitivity to the nuances of the action. The staging (put together by Nathan Hull, who must be as busy as Figaro himself) was straightforward, wittily emphasizing the piece's comedy. Spanish dance rhythms abounded; this local color was reinforced for the fandango-ignorant audiences of the twenty-first century by dancing where possible, and deployment of fans by the ladies. In the ensembles, especially, I found Mercadante's style reminiscent of Rossini (which I mean to use as a stylistic point of reference for this unfamiliar score, rather than a 'poor relation' slight.) In a number of instances, the tone of the music undermined the stated irony of the characters' actions... or their stated sincerity.

Folle Giornata: Le Nozze di Figaro at Amore Opera

"This is an awfully long opera," said the man seated behind me at The Marriage of Figaro on Friday, "but there isn't a bad bit in it." Amore Opera has opened their third season in style with what is arguably the most transcendent of human comedies, a gem among gems of the operatic repertoire. The cheerful good humor shared by staff and audience seemed a fitting tribute to Mozart's masterpiece. The informal hospitality of hors d'oeuvres and wine shared by chatting groups of friends and strangers made the lobby of the Connelly Theater seem a sort of natural extension of the count's household. The intimate size of the theater (which seats just a hundred) also contributed to the cozy atmosphere of an evening which had clearly been prepared with love.

José Alejandro Guzmán, conducting, was attentive to singers and players, correcting for coordination more than once. The orchestra sounded noticeably ragged at times, but this may improve over the course of the run. The game string section was done no favors by the humidity of the warm room, which caused some tuning issues. I could have looked for more nuance in dynamics and tempi, but the playing supported the action on stage. Generally, this emphasized the comedies of the piece rather than its tragedies (and, parenthetically, I was surprised by what I perceived as a lack of eroticism. Perhaps this may change as the singers settle into the production.) All of the singers were done a disservice by the English translation. A majority of the audience seemed to be unfamiliar with the opera (to judge by the synopsis-checking that was going on around me, and the breathless suspense with which my seat neighbor followed the concealments of Cherubino) so I see the point, but I was constantly hearing Da Ponte's beautiful Italian in my head. It's not, of course, that English is inherently ill-suited to being sung, but having the musical phrase that should open out into "contenta" end in "as I am" thwarts its emotional effect. And "Should my dear master want some diversion" just does not breathe irony and defiance like "Se vuol ballare, signor contino."