 |
| The only extant photograph of composer Albéric Magnard. |
Magnard was part of the post-Wagnerian movement in early 20th century France. He wrote in a sweeping, chromatic idiom and used a system of carefully developed leitmotifs. Like his countryman Ernest Chausson, Magnard's music is of the hothouse variety, a feverish brand of late Romanticism that sweeps over the listener with lush strings and noble brass. Bérénice, a re-working of a play by Racine is his third opera. Magnard was killed in 1914, defending his country home from invading German troops in the early days of World War One.
Bérénice (Michaela Martens) is the Queen of Judea. Her country is sacked by Titus (Brian Mulligan) the heir to the Roman Empire and son of the Emperor Vespasian. The story tells of the collapse of their love affair, caused by Titus' elevation to the position of Emperor. Eventually, she ditches him and Rome, and cuts off her hair in a self-sacrificing gesture as her ship sails back to Judea.
Unusually, this opera has no major parts for tenors or sopranos. Michaela Martens made a strong impression as Bérénice, despite being onstage for three hours and having to do battle with Magnard's weighty orchestration. The mezzo made an admirable effort, delivering a fine dramatic performance and conserving her energies for the peroration that ends the opera. As Titus, Brian Mulligan sang with a warm, powerful baritone in idiomatic French. The Emperor is a difficult role with a high tessitura, and the singer was clearly flagging in the final duet.
As Mucien, the Emperor's retainer, bass Gregory Reinhart showed a powerful, stentorian instrument, dark and sturdy. Mezzo Margaret Lattimore reached down to the depths of her instrument for the role of Lia, Bérénice's lady-in-waiting. The Collegiate Chorale contributed strong choral support, but one wishes that Magnard had written more for his grand vision than a few short, supporting choruses.
It is a pity that these four fine performances were heard in an opera that is dramatically inert. Bérénice is a kind of Tristan in reverse, with the lovers engaged and passionate at the beginning. As the work develops, the Emperor and his would-be bride are driven apart by politics and their own choices. Unusually for a tragic opera, Bérénice and Titus survive the evening--a possible factor in the work's lack of popularity.
What really sinks Bérénice is Magnard's libretto. (He's no Wagner.) Crudely written, unintentionally hilarious dialogue ("Your logic is as sharp as a broadsword") contributes to leaden pacing, with each act culminating in a lengthy duet. Very little happens in three hours. Leon Botstein did his best with the American Symphony Orchestra forces. That said, the enterprising maestro might want to admit an unwelcome truth: some operas deserve their obscurity.
7 comments:
You're a musical ignoramus with a tin ear. Gorgeous music and a superb libretto.
Well, at least I'm "musical." Thanks for reading!
I attended the performance, and this is a perfect example of what to avoid in composing an opera. The music lacks dramatic tension and one can perhaps listen to 10 minutes of it, but after that, it is basically an exercise in endurance to sit through the whole opera.
First off, you are no musical ignoramus and handled that commenter with a kind and funny retort, perhaps too kind for him! Hats off to you...
I attended that performance and had similar opinions as you on the opera. While the work was performed excellently by both orchestra and singers, I too felt that the music lacked that memorable quality. At times the orchestral writing was beautiful, yet the vocal writing was not always equally so. Mulligan, Reinhart (2 wonderful voices), and Martens all gave phenomenal performances and Botstein showed himself to be a conductor of serious merit. His lecture before the performance too was delightful and served as a nice intro to this obscure work. I love post-Wagnerian french opera and was very pleased at hearing this work but like you I would want to see these performers in something more substantial. Though by no means a masterpiece, this was definitely an enjoyable opera.
French post-romantic operas are not often explored, so regardless of the quality, it is refreshing to experience more than the standard repertoire. Like FERVAAL last year, I was unable to attend the concert due to weather and scheduling. I hope that Maestro Botstein will consider releasing this and FERVAAL on cd for further exposure and consideration beyond NYC. His ARIANE ET BARBE-BLEUE was a very welcome addition to my collection.
I can tell we were at the same concert, but what you found inert I found gloriously alive. I was much happier dwelling upon the long, smooth emotional billows of this tone-poem opera than I am being dashed about by the usual jagged plots. And I think the main reason this opera is obscure is because lush romanticism is not in style. I hope somebody from the recording houses and the Met attended and took note of what an orchestral master Magnard is. I’m still hearing the galloping Titus motif, with its glittering flourishes. If anybody does this one again, particularly with Ms. Martens in the title role, I’d travel to attend.
@Wienke I have no argument that the music is beautiful. It is, and Magnard was an unappreciated master who died far too young. My chief argument is with the opera's book, which--especially in the fairly bland setting of a concert staging, was exposed as dramatically underwhelming. And yes, I'd love to have a recording if one is being made--of this performance or any other.
Conductors like Leon Botstein and Alberto Veronesi are to be commended for their hard work in bringing back operas like Ariane, Berenice and the lesser works of Richard Strauss. In fact I was at his Die Liebe der Danae and Die ägyptische Helene--not to mention the Ariane and thought all three operas were magnificent. Maybe that's why I found Berenice disappointing--but I think I'd enjoy the work more if I had more opportunity to study it.
Post a Comment