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 Performances

Les Indes galantes, Bavarian State Opera

Baroque opera has long been an important part of the Bavarian State Opera’s programming. And beyond the company itself, Munich’s tradition stretches back many years indeed: Kubelík’s Handel with the Bavarian Radio Symphony Orchestra, for instance.

Don Giovanni, Bavarian State Opera

All told, this was probably the best Don Giovanni I have seen and heard. Judging opera performances - perhaps we should not be ‘judging’ at all, but let us leave that on one side - is a difficult task: there are so many variables, at least as many as in a play and a concert combined, but then there is the issue of that ‘combination’ too.

A dance to life in Munich’s Indes galantes

Can one justly “review” a streamed performance? Probably not. But however different or diminished such a performance, one can—and must—bear witness to such an event when it represents a landmark in the evolution of an art form.

Il barbiere di Siviglia, Glyndebourne Festival Opera at the Proms

For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.

Béatrice and Bénédict at Glyndebourne

‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.

Der fliegende Holländer, Bavarian State Opera

‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.

Evergreen Baby in Colorado

Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.

Lean and Mean Tosca in Colorado

Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.

Die Walküre, Baden-Baden

A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at the Sommer Festspiele in Baden-Baden.

Des Moines’ Elusive Manon

Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.

Falstaff in Iowa: A Big Fat Hit

Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece

Die Fledermaus, Opera Holland Park

With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.

Nice, July 14, and then . . .

J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.

Jette Parker Young Artists Summer Performance

The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.

Prom 2: Boris Godunov, ROH

Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.

Des Moines’ Gluck Sets the Standard

What happens when just everything about an operatic performance goes joyously right?

Des Moines: Jewels in Perfect Settings

Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.

First Night of the Proms 2016

What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.

La Cenerentola, Opera Holland Park

In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.

Il trionfo del tempo e del disinganno in Aix

The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.

OPERA TODAY ARCHIVES »

Performances

John Charles Pierce as Parsifal and Dubravka Šeparović Mušović as Kundry [Photo by S. Novković courtesy of Hrvatskoga Narodnog Kazališta U Zagrebu]
26 Apr 2012

Zagreb’s Wagner Casts Its Spell

Croatian National Opera, in collaboration with Würzburg’s (Germany) Mainfranken Theater has made quite a forceful case for Parsifal.

Richard Wagner: Parsifal

Amfortas: Davor Radić; Titurel: Ivica Trubić; Gurnemanz: Claudius Muth; Parsifal: John Charles Pierce; Klingsor: Anton Keremidchiev; Kundry: Dubravka Šeparović Mušović; Conductor: Saša Britvić; Director: Kurt Josef Schildknecht; Set Design: Rudolf Rischer; Costume Design: Gera Graf; Lighting Design: Roger Vanoni

Above: John Charles Pierce as Parsifal and Dubravka Šeparović Mušović as Kundry

Photos by S. Novković courtesy of Hrvatskoga Narodnog Kazališta U Zagrebu

 

They have accomplished this first and foremost by assembling a cast of superlative singers, with pride of place going to the intriguing Kundry as impersonated by Dubravka Šeparović Mušović. She is an artist of great imagination and infinite variety. In Act One, she is a displaced street person, in Two a glamorous seductress who seems on the verge of a nervous breakdown as she vacillates between being Klingsor’s willing accomplice and a penitent in search of redemption. Free-wheeling moments of unbridled lust give way to nervous, guilty tics and stomach-churning disgust (for the character, not us). This was a valid, fully engaged, undeniably schizophrenic take on the character and Ms. Mušović wholly owned it.

Parsifal_Zagreb_02.gifDubravka Šeparović Mušović as Kundry

Nor did she stint in the vocal arena as she let loose with an awesome arsenal of well-calculated effects including a smoldering low voice, searing top, well knit registers, tenderly caressed phrasings, and superbly controlled dynamics, remarkably all of a piece. There was not a moment that she was not invested in the emotional truth of Kundry’s musical lines as she fully immersed herself in a highly personal traversal of one of opera’s most complex characters.

Anton Keremidchiev served up a commanding Klinsgor possessed of what was easily the most beautiful voice I have ever heard cast in this part. Instead of the usual muscled up ranting and bluster, here was a clean, penetrating instrument deployed with a commendable sense of line and dramatic purpose. No parking, no barking, just forcefully beautiful vocalizing.

Veteran Claudius Muth showed off an orotund bass as Gurnemanz, utilized with a keen understanding of his well-schooled technique. The low and middle range rolled out with an easy presence, and while the very highest notes are just outside his core comfort zone, Mr. Muth managed them with consummate skill. Davor Radić contributed a ringing, secure account of Amfortas. Perhaps a tad too secure since his solid, pointed baritone rarely dipped in volume much below forte. A bit of modulation and color would enhance his somewhat stentorian presentation of the suffering soul.

Ivica Trubić likewise intoned a solid, off-stage Titurel, although it was a bit hard to judge any nuance in his vocals since they were amplified with a good deal of reverb. The excellent Flower Maidens were the best matched, most vibrant, and thrillingly sung of any in my experience.

Parsifal_Zagreb_03.gifJohn Charles Pierce as Parsifal, Dubravka Šeparović Mušović as Kundry and Manfred Hemm as Gurnemanz

That leaves our hero, and John Charles Pierce did not disappoint in the title role. I admit it, I am spoiled. My first Parsifal ever was Jon Vickers, who probably wrecked me for others forever. Mr. Pierce brought complete understanding to bear, and has a pleasant stage manner and a far more than serviceable tenor. Although he seems to cover the sound a bit, when he goes to nail a high phrase, he is able to summon a laser-like clarity. He was never less than thoroughly competent, and often brought joy, but he never quite elevated the role enough to make me forget that his is arguably the least interesting role in the opera.

Conductor Saša Britvić worked musical wonders in the pit helming this musical monster-piece. Predictably, the orchestra fared at its most virtuosic best in the more fiery Act Two, which bubbles and churns along more vividly. In the cruelly demanding expanses of One and Three, the group strove to much good effect in knitting the long, drawn out amblings into a unified whole. There were a few lapses of rhythmic impulse as the piece languidly unfolds (especially in the long rests which sapped the forward motion) and there was a slight dip in accurate intonation ‘round about the 100th minute of Act One, but overall, Maestro Britvić and his players should be duly proud of their achievement. The chorus, too, was trained to a fare-thee-well, and frequently raised goose bumps with their dynamic, poised singing.

To say the production recalls the best of the 1950’s is not to denigrate it in any way. In a nod to Wieland, designer Rudolf Rischer’s basic concept is a circle of Stonehenge-like monoliths that not only revolve at times to interesting new configurations, but also accept all manner of meaningful lighting gobo projections, such as stars, waves, etc. Within this milieu, the addition of a huge, tilted white cross, or the addition of a bridge skirted by red drapes provide all that is needed to adequately communicate Wagner’s intentions.

Gera Graf’s well-considered costumes are also rather timeless, offering a decidedly contemporary twist on the period. Flower maidens burst through the slit red drapes first demurely clad in white nun garb, with the wimples but minus the veils, then change and reappear in glittery, sequined, flesh-colored gowns. The knights are in generic tunics and cowls emblazoned with crosses, each with a sort of red-velvet back-pack that has a metal cross stuck upright in it. These get removed and positioned inventively about the stage, and the crosses later get extracted, upended, and brandished as swords.

Parsifal_Zagreb_04.gifScene from Parsifal

Parsifal is all ‘Heroic Montsalvat Man-in-Black’ and sports a wondrous wig of dreadlocks. Indeed all of the hair treatment was quite inspired, and the make-up plot was of the kind you never see anymore, meant to convey features all the way to the top row of the balcony. Kundry’s genial hippie bag lady attire of One yielded to the second act's generic black gown as she was first unfurled, moaning and blindfolded, out of a cocoon of a red carpet. Soon enough, she was got up in a form-fitting black number with an extravagant blond wig, the whole effect topped with a massive “dust cover” of white chiffon. This piece of cloth gets put to creative dramatic use and gets re-purposed any number of times, not least of which as an ersatz spider web.

Roger Vanoni’s lighting design was effectively varied and gloriously colorful. Best of all, the singers faces were (almost) always fully lit. How cool is that? (Or ‘hot’?) A single caveat is that one of the follow-spot operators needs a brush-up in technique. Either Parsifal was being too spontaneous in his Act Two peregrinations or the operator was inattentive or both, for the light was too often playing catch-up to the actor. The concept that Klingsor was clad in a red suit (a la the Devil in Jerry Springer — The Opera) and operated Vari-lights from a sort of DJ desk on the suspended bridge was a fun conceit. When 'Special K' commanded a disco display of flashing lights, it somehow made sense and underscored his control freak persona.

Director Kurt Josef Schildknecht has invested good intentions in his stage pictures and has created plausible relationships between his characters. There is sometimes a tendency to sing forward for implausibly long stretches, but then the plus side is that the balance between stage and pit was excellent. The seduction in Two was played out on a raised circle (Wieland again!) that was at once bed and altar. I quite liked the many ways the actors found to meaningfully place themselves on it, around it, away from it, and under it, all the while communicating volumes with their relative stage positions.

Parsifal_Zagreb_05.gifJohn Charles Pierce as Parsifal with Blumenmädchen

Did everything work? Well, no. Klingsor’s hurling of the spear was ineffectual with two extras simply carrying it aloft to Parsifal who has absolutely no challenge to feebly raise his hand and grab it. However, I did like that he then used it and his sword to create a “cross,” the sight of which brought Klingsor to his knees like Dracula in submissive revulsion. The contemporary hospital bed for Amfortas remained a distraction for me throughout. And his hobbling around with crutches was dishonest since the actor could not remotely suggest that the character could not walk unassisted. Too, there was one unintentionally humorous moment, when a “page” was required to strike a three foot tall stack of ‘heavy’ over-sized books by just lifting them up and off like the Styrofoam they were!

Still, there are so many riches that were so successfully mined here from the challenging, enigmatic masterpiece that is Parsifal, that Croatian National Opera is to be (and was) loudly cheered for having brought such a thoughtful and committed performance to life.

James Sohre

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):