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

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.

Carmen by ENO

Dystopic vision of Carmen, brought to life by vibrantly gripping performances

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

OPERA TODAY ARCHIVES »

Reviews

Richard Wagner: Rienzi — Der Letzte der Tribunen
16 Jun 2011

Wagner’s Rienzi in Berlin

The Voltaire maxim usually given in English as “The perfect is the enemy of the good” illuminates the artistic conflicts surrounding many a Wagner production.

Richard Wagner: Rienzi — Der Letzte der Tribunen

Rienzi: Torsten Kerl; Irene: Camilla Nylund; Steffano Colonna: Ante Jerkunica; Adriano: Kate Aldrich; Paolo Orsini: Krzysztof Szumanski; Cardinal Orvieto: Lenus Carlson; Baroncelli: Clemens Bieber; Cecco del Vecchio: Stephen Bronk. Berlin Deutsche Opera Chorus and Orchestra (chorus master: William Spaulding). Sebastian Lang-Lessing, conductor. Philipp Stölzl, stage director and set design. Ulrike Siegrist, set design. Kathi Maurer and Ursula Kudrna, costume design. Recorded live from the Deutsche Oper Berlin, 2010.

ArtHaus Musik 101521 [2DVDs] | 101522 [Blu-Ray]

$39.99  Click to buy

With such large operas — in duration, cast, theme, and more — the viewer is best prepared to enjoy any production by foregoing Apollonian expectations. Wagner held himself to very high standards, of course, and one early victim of his search for perfect artistic self-expression was his opera Rienzi — Last of the Tribunes. Created around the same time as The Flying Dutchman, Wagner decided later that Rienzi fell into his early growth period, while Dutchman marked the beginnings of his artistic maturity. So Rienzi was banned from the Bayreuth canon, and indeed the opera has seldom been staged elsewhere, although there are some historic recordings available. What has kept the opera’s title alive is the popularity of its overture in performance and on classical music radio stations. The stirring nobility of the main theme and then the energetic propulsion of the middle section must have led many a listener to be curious about what the opera would be like, seen staged.

An answer — if partial — can be found in the ArtHaus DVD of a 2010 Deutsche Oper Berlin performance, directed by Philip Stötzl. Wagnerian perfectionists face two daunting challenges in enjoying the best of this staging: first, the radically edited version of the score created as the basis of this performance, and second, Stötzl’s decision to forego the setting and even tone of Wagner’s libretto for the sort of modern theatrical interpretation often described, not to say derided, as “regie.”

Set in 14th century Rome, Wagner’s original libretto had a sprawling cast of characters engaging in multiple subplots, but Stötzl cut away everything except the central story of the Roman tribune Rienzi, who becomes a hero to the people when, with the backing of the Church, he faces down a civil revolt. Somewhat reluctantly, he agrees to take leadership and find a final resolution to the conflict. A key member of one of the opposing factions, Adriano, falls in love with Rienzi’s devoted sister, Irene. Adriano pledges support to Rienzi, but other members of the rebelling factions attempt an assassination. Rienzi survives, but then he becomes as autocratic and oppressive as those he sought to subdue. Ultimately, civil war breaks out again, and Rienzi is killed, along with his sister Irene, who chooses her brother over Adriano, leaving the young man bereft.

That much of the story Stötzl communicates very clearly, but he does it through the iconic images of the Third Reich (although there is no specific Hitler parallel in Rienzi’s appearance). Under the overture, a gymnast in a fat military suit cavorts around a huge desk, a homage to Charlie Chaplin in The Great Dictator playing with a globe-shaped balloon. In his white suit and pulled back hair, Torsten Kerl as Rienzi has a quasi-Mussolini affect, but even from the beginning he seems unstable and unreliable as a force for bringing others together. His dissolution carries no tragic force, therefore, but tragedy is not Stötzl’s aim. The best of the score is known through that famous overture; otherwise, this is indeed early Wagner, the anarchic master locked into the rigid forms of a Meyerbeerian grand spectacle. Stötzl’s menacing yet comical tone turns out to be an effective gambit. And Kerl deserves a lot of credit, singing out with sustained power and thrust, but also fully invested in the production’s atmosphere. Kerl rivets the attention, even if the character often repels it.

In appearance Camilla Nylund is almost too spot-on as Irene — tall, attractive and blonde, Nylund embodies what might have once been called a vision of feminine Aryan beauty. She also physically overwhelms Kate Aldrich in the pants-role of Adriano, but Nylund doesn’t supplant Aldrich as a vocalist. Aldrich sings with great precision and passion, in a type of role that Wagner would never attempt again. While effective, Nylund lacks any special character to her soprano.

Conductor Sebastian Lang-Lessing doesn’t allow any of the score’s many edits to disrupt a potent, melodic flow. And for once a disc’s “special feature” is truly special — a 20-minute “making of” documentary that actually has interesting interviews and rehearsal glimpses that give a good sense of how a complex staging such as this comes together. Look for the moment when Nylund asks Stötzl why Irene doesn’t approach Rienzi when her libretto line states she is coming to his side, and a momentarily exasperated Stötzl points out that the production is far from literal. Whether one sympathizes with the singer’s inquiry or the director’s response, the exchange shows the kind of involvement of all parties that resulted in this unusual and frequently exciting production. Recommended.

Chris Mullins

 

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):