Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Reviews

The Barber of Seville, ENO London

This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.

Monteverdi: Il ritorno d’Ulisse in patria, Bostridge, Barbican London

The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.

English Touring Opera - Debussy, Massenet and Offenbach

English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).

“Nessun Dorma — The Puccini Album”

Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.

Verismo Double Header in Los Angeles

LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.

Viva Verdi at Opera Las Vegas

On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.

Barbera Sings a Fascinating Recital in San Diego

On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.

Wigmore Hall Complete Schubert Song Series begins with Boesch and Johnson

The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.

Honegger: Jeanne d’Arc au bûcher

Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne dArc au bûcher, an adaptation of the Trial of Joan of Arc

Luisa Miller in San Francisco

Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.

Salieri: La grotta di Trofonio (Trofonio’s Cave)

Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.

Chicago Lyric’s Stars Shine at Millennium Park

The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.

Far in the Heavens — Choral Music of Stephen Paulus

Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.

Gluck: Orphée et Eurydice

Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.

Vaughan Williams and Holst Double Bill

One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.

Iestyn Davies at Wigmore Hall

Is there anything that countertenor Iestyn Davies cannot do with his voice?

Prom 75: The Dream of Gerontius

BBC Proms Youth Choir shines in a performance notable for its magical transparency

Prom 67: Bernstein — Stage and Screen

The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.

Prom 65: Alice Coote sings Handel

Disappointing staging mars Alice Coote’s vibrant if wayward musical performance

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.



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):