Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

Falstaff in Genoa

A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.

Traviata in Seattle

One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.

Wagner at the Deutsche Oper Berlin Part II: Kasper Holten’s angelic Lohengrin

Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,

Wagner at the Deutsche Oper Berlin Part I: Stölzl’s Psychedelic Parsifal

Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.

Donna abbandonata: Temple Song Series

Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.

OPERA TODAY ARCHIVES »

Reviews

Franz Schreker : Die Gezeichneten
30 Aug 2009

Franz Schreker : Die Gezeichneten, Salzburg

Franz Schreker’s Die Gezeichneten isn't the easiest opera to produce, with its grand effects, but this production comes close to being a perfect union between stage and music.

Alviano Salvago : Robert Brubaker, Carlotta Nardi : Anne Schwanewilms, Graf Andrea Vitelozzo Tamare : Michael Volle, Herzog Antoniotto Adorno : Robert Hale, Ludovico Nardi : Wolfgang Schöne, Konzertvereininigung Wiener Staatsopernchor, Deutsches-Symphonie-Orchester Berlin, Kent Nagano: cnductor, Director : Nikolaus Lehnhoff, Stage design : Raimund Bauer, Director for film : Andreas Morell

EuroArts 2055298 [DVD]

$26.99  Click to buy

Created for the specifics of the Felsenreiitschule in Salzburg, it was extremely expensive to mount. Chances are that its like will never be seen again. This film is a unique testament to visionary stagecraft.

In the early 90’s Decca did a series of recordings of Entartete Musik, music suppressed by the Nazi regime. It was an act of great commercial foresight because at the time much of this music wasn’t known outside specialist circles. The Decca series, created by Dr Albrecht Dümling, was truly visionary, extremely well curated, and the performances often so good they remain classics even now the genre is pretty much mainstream. This series is the benchmark by which all else is measured. Probably there won’t be another series of this breadth and quality.

Franz Schreker’s Die Gezeichneten was part of the series, conducted by Lothar Zagrosek and the Berlin Radio Symphony who were behind many of the recordings. Entartete Musik was cherished in East Germany, where there was a performance tradition. On one disc there’s Matthias Goerne, barely out of his teens. Worthy as that recording is, it’s outclassed by the performance in Salzburg in 2005, when Peter Ruzicka was director. So a visionary performance, unmissable for anyone, interested in the genre or not. This puts* Die Gezeichneten *firmly in the mainstram repertoire.

The Salzburg production is so good that topping it will be a challenge no one has yet dared attempt. It was conducted by Kent Nagano, and the Deutsches Symphonie-Orchester Berlin (where many East Berliners went to). The cast is absolutely top notch : Anne Schwanewilms, Michael Volle, Robert Hale, Wolfgang Schöne and Robert Brubaker in what must be the ultimate performance of his career. The director was Nikolaus Lehnhoff.

Lehnhoff’s penchant for massive constructions works wonderfully to express the meaning of the opera. The stage at first looks like it’s strewn with formidable boulders. Alviano Salvago has built Elysium, a secret world on a remote island off Genoa. These boulders are like the bastions of a frightening fortress, which is what Elysium really is, despite being dedicated to art, love and beauty. There are prisoners here, and unspeakable crimes which don’t get revealed until the end. Salvago himself is a fortress. He’s a hunchback, “the ugliest man in Genoa”, crippled by self-loathing. He’s built Elysium as an escape. It’s so perfect that it makes everything beautiful. It’s used by aristocrats for exquisite orgies, in which Salvago himself doesn’t participate despite the magical aura which makes hideousness beautiful.

As the lovely Overture unfolds, Brubaker is carefully putting on elaborate makeup. He’s dressed in a flimsy negligee. but his cropped hair and butch features make him look like a caricature drag queen. Immediately, the staging and acting conncet to the idea of psychic dissonance that is so much the soul of this opera. The boulders on stage are formed by a giant statue of a woman, but a statue collapsed and destroyed, only one arm, on hand still raised in a futile gesture to heaven. Most of the action in the opera unfolds on the statue’s body, so watch carefully how the body becomes part of the action. Sometimes its rounded curves nurture, sometimes they allow a place to hide, but they remain opaque, inpenetrable, unlike the island’s victims. The stage too extends to the walls around the auditorium, arches representing the many secret rooms in the grotto, yet also look sinister, like catacombs. The statue does not foretell the ending. It’s clear in the music and text all along that Elysium is an unsustainable delusion in the first place, and Salvago is not deluded. This is important because there are moral and social values in this opera. Elysium is a prototype of an ideal society, corrupted by people who don’t have ideals.

Salvago announces he’s giving Elysium away to the City of Genoa. An altruistic act, perhaps, but Salvago knows that the girls used in the orgies were kidnapped from the town. Schreker’s dwarf is an altogether more complex person than any of Zemlinsky’s. Zemlinsky’s dwarves fall in love with beauties, but accept their rejection on a relatively straightforward fairy tale level. Schreker’s Salavgo (note the name) is so screwed up he doesn’t dare look beyond himself and or even conceive of love. Fortress Elysium blocks out vulnerable feelings.

Schreker’s drama is more than fairy tale in other ways. Listen to the way Anne Schwanewilms creates Carlotta Nardi, the wayward daughter of the Podestà (Wolfgang Schöne). She’s a liberated woman, an artist who doesn’t follow rules, the personification of Der ferne Klang, the elusive melody in physical form. She paints souls. Listen to that wonderful passage where she sings about her dream. She sees a “small wretched wanderer” walk into the sunlight, and a miracle happens - he grows larger and larger. “So male ich eure Gestalt, Signor Alviano”. Watch Brubaker’s face twitch. This is truly masterful acting. He’s pouring out a flood of dammed up emotions, too powerful for Salvago to contain. Then she says, she still needs to see “trunkene Auge, darin all die Schoenheit sich gespeigelt”.

This line is critical. Can Salvago give her the “drunken eye” that mirrors beauty ? Brubaker pulls his butch black overcoat on again, hiding his soft pink negligee, and for a moment stands alone on the harsh boulders. The scene ends with poignant strings, the film projecting the statue’s blind stone eyes.

Salvago’s mirror image twin is Graf Vitelozzo Tamare, given a tour de force performance by Michael Volle, another high point in his career he deserves to be very proud of. Tamare is handsome, tall, virile. What body language! Yet listen to the music behind his description of Elysium, and its “Ein künstliche Grotto auf jenem Eiland”, the Eiland soaring, swelling lyrically. So it makes sense that Tamare, Alpha male that he is, unlke the other men, the one who discovers love. “There are men who see only the light, and darkness “ist ihrem Fremd”. Since he’s set eyes on the Carlotta with her mysterious, challenging smile, no longer can he be careless and uncaring, no longer can he be the prankster hero he used to be. Think Tristan. Pity Volle isn’t a tenor. Listen to the way Schreker builds echoes of horn calls into the music, as if he did hear the parallels. But it’s distinctively Schreker’s voice, “Ferne Musik und leise Gesänge” further invoked in the orchestral interlude that follows, where Lehnhoff has Schwanewilms start to seduce Brubaker.

Both Schwanewilms and Brubaker are encased in transparent black chiffon on naked flesh. When Schwanewilms talks off Brubaker’s hard, heavy boots it’s erotic and yet extremely tender. Watch Brubaker’s expressions carefully as he doesn’t have much to sing but his reactions are extremely important - thank goodness for close-ups in film! Yet seduction is just a simile for deeper intimacy. Carlotta sings of going out on s a sunny day, feeling sad without knowing why. Salvago realises someone has at last broken down his emotional walls. But that means he has to learn to give tenderness in return, for she, too is “ein gar gebrechliches Spielzug” She pulls off his pink dress, exposing him, but that’s it.

The most striking scenes in this production occurs as the interlude is played. Suddenly the auditorium is bathed in blue light, a reference to the light that makes the Grotto magic. The arches around the stage light up, and figures appear, in black capes. These reference the men of Genoa in their black, beetle-like attire and also longer dramatic traditions. Carlotta’s sensitivity is up against something too hard and too ingrained in society for her and Salvago to stand up to. Figures like vultures encroach on the stage as the Duke, representing power, persuades Carlotta that Salvago isn’t the man for her. Eventually, it’s Tamare she succumbs to, not unwillingly.

These groups of elegant but sinister figures, sexually ambiguous, with masks and feathered headresses, are Lehnhoff trademarks, but here wonderfully evoke things that can’t rationally be expressed - mystery, evil, death, power, perhap ? They prepare us for the terrible trial scene when Duke Adorno and the Council of Eight denounce Salvago, blaming him for kidnapping and corrupting the girls of Genoa. It’s a horrifying moment. Salvago squirms, helpless. The aristocrats who used Elysium are rounding on him for trying to end it. He must take the blame so they won’t. And he is to blame, even though he never laid a finger on anyone. His crime was trying to upset the natural order of things where beauty is beauty and ugliness ugliness. Salvago’s attempts to end the orgies on the island by giving it to the city are cruelly punished. Perhaps real ugliness is so powerful that dreams like Elysium can’t possibly work and Salvagos are destined to fail. And the rescued girls themselves blame him, for it was in his Elysium they were corrupted.

Then in the final interlude, the ground itself opens up, as Elysium is destroyed, revealing lots of children, half naked, some dead, their haunted eyes captured more accusingly on film than you’d ever see in the opera house. It’s horrible. In a corner, Carlotta and Tamare lie together as if dead. Then Volle sings. Even if he’s killed, it won’t change the fact he’s had the most blissful moment of his life. “Die Schönheit sei Beute das Starken”. In their final confrontation, Tamare tells Salvago in no uncertain terms why he’s failed. “Du sahst nur das Dunkle, die Scahtten, Gefahr und Sünde”. What’s worse, “ein freudlos Leben, ein langsam Seichen, oder ein Tod in Rausch und Verklärung rauscher in brünstg’r Unarmung ein selig Sterben!”. A death in rapture and transfiguration? Carlotta found the ecstacy, the “drunken eyes” she dreamed of so she died happy. Definitely, Tristan und Isolde.

But this is Schreker. Tamare recounts a tale about killing a funfair fiddler with his own violin. Carlotta awakes from her swoon and screams at Salvago in revulsion . “Gebt mir Wasser” she cries, “Nein, gebt mir Wein!” Salvago crumples into a ball as the music explodes into conflagration. This production is so good it truly deserves the tiitle “Festspieledokumente”.

Anne Ozorio

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):