DVD Review: No Glove, No Love

Daniel Barenboim conducts the La Scala Das Rheingold.
by Paul J. Pelkonen

A game of thrones: Johannes Martin Kränzle as Alberich in Das Rheingold.
Photo by Koen Broos © 2013 La Scala ArtHaus Musik.

(This is a repost in anticipation of forthcoming reviews of the rest of this Ring  later this week.)

There are a lot of familiar theatrical ideas at work in this Das Rheingold, a DVD issue of the 2010 La Scala production of Wagner's Der Ring des Nibelungen. Digital back projections, dancers serving as scenery (and occasionally, props and furniture) and little square pools of water onstage for the singers to splash in are not new. However, director Guy Cassiers succeeds in combining all these elements to present the "preliminary evening" of the Ring in a fresh and intelligent way. With an emphasis on acting and singing over technology and spectacle, this is a production for these economically uncertain times.

Opera Broadcast Review: A Dame to Kill For

Anna Netrebko shines in Macbeth.

by Paul J. Pelkonen

The blood couple: Željko Lučić (top) and Anna Netrebko in Macbeth.
Photo by Marty Sohl © 2014 The Metropolitan Opera.

The Metropolitan Opera's 2007 production of Verdi's Macbeth has, until this season, lacked a soprano capable of singing, really singing the fearsomely difficult role of Lady Macbeth. This season, the Lady arrived in the unlikely form of Anna Netrebko, the Russian diva known for bel canto, particularly the operas of Donizetti. On Saturday afternoon, in the Met's first Live in HD transmission of the new season, Ms. Netrebko simply owned this challenging part, at the forefront of a stellar revival under the baton of principal conductor Fabio Luisi.

Metropolitan Opera Preview: Die Zauberflöte

The "composer's cut" of Mozart's final opera.
by Paul J. Pelkonen

Here comes the sun king: René Pape as Sarastro in Die Zauberflöte.
Photo by Ken Howard © 2014 The Metropolitan Opera.

In the years of general manager Peter Gelb's reign over the Metropolitan Opera House, one of his signature initiatives has been an annual "holiday presentation" of a famous opera, drastically cut to one long act and sung in English. The most frequent masterwork on the chopping block has been Mozart's Die Zauberflöte.

Opera Review: Changing of the Guardians

Parsifal at the Met: Redux.
By Paul J. Pelkonen

My man Gurnemanz. Rene Pape (left) dresses Jonas Kaufmann in Act III of Wagner's Parsifal.
Photo by Ken Howard © 2013 The Metropolitan Opera.

The Metropolitan Opera’s new production of Wagner’s Parsifal went through its first changes in personnel on Tuesday night. This was the first of two performances to be led by Israeli conductor Ascher Fisch, who is well known for his Wagner performances at the Seattle Opera.. There was also a substitution in the role of Kundry, with mezzo-soprano Michaela Martens stepping in for an indisposed Katerina Dalayman.

Live Broadcast Review: Reigning in Blood

The Met's Live in HD broadcast of Parsifal.
by Paul J. Pelkonen

Blood mage: Evgeny Nikitin is Klingsor in the Met's new Parsifal.
Photo by Ken Howard © 2013 The Metropolitan Opera.

Peter Gelb's term as general manager of the Metropolitan Opera has focused around two key initiatives: the introduction of new stagings to replace the fusty extravaganzas of the past, and the popular Met Live in HD series, beaming Met productions around the globe ten times per season.

On Saturday afternoon, those two initiatives merged in the company’s Live in HD broadcast of Parsifal, seen here in a compelling new production by director François Girard. This stark show shone in a broadcast that featured an all-star cast. Multiple cameras recorded the fine details of this director’s vision, revealing small but important visual elements that may not be readily apparent in the vastness of the Met. The performance was enhanced by intermission interviews (hosted by bass Eric Owens) with most of the principal cast, conductor Daniele Gatti and Mr. Girard.

Opera Review: The Precious Cure

The "new" Met finally gets Wagner right.
by Paul J. Pelkonen

Blood simple: Parsifal (Jonas Kaufmann) encounters
Kundry (Katherine Dalayman) in Act II of Wagner's Parsifal.
Photo by Ken Howard © 2013 The Metropolitan Opera.

There are any number of ways to interpret François Girard's new production of Wagner's Parsifal, seen Monday afternoon and evening at the Metropolitan Opera. One argument is environmental: the Knights of the Holy Grail are holding on to a precarious existence in a barren wasteland, having suffered the misfortune of their king Amfortas' injury. These knights spend all their time in what looks like an encounter group, hunched on black plastic chairs on one side of the stage. The female chorus is shrouded in black, segregated from the men. In Act III, the landscape has become a graveyard.

Opera Review: Swedish Salvation

The second cast takes over in Faust.

by Paul Pelkonen.

"You like me! You really like me!"
Malin Byström as Marguerite in Faust.
Photo by Ken Howard © 2011 The Metropolitan Opera.

The reason to hear Thursday night's performance of the Met's new Dez McAnuff production of Gounod's Faust was the house debut of Swedish soprano Malin Byström as Marguerite. 

As the opera's conflicted heroine, (central to this version of Goethe) Ms. Byström was not as dramatically mannered as her predecessor. She sang the role simply and honestly, soaring to some impressive heights in the Jewel Song and generating real angst in Act IV, when the pregnant Marguerite is tormented by the Devil and kills her own child.

Already established in Europe, Ms. Byström is an impressive singer with a secure technique and an interesting stage presence. There is great potential here. Should she rise to international fame, the Met might consider mounting Verdi rarity I Masnadieri for her. She has the very challenging soprano role (written for fellow Swede Jenny Lind) in her curriculum vitae.

Roberto Alagna's high-energy stage presence and fluid, easy French was a pleasure of the evening. Although the singer celebrated Faust's return to youth with a surprise cartwheel across the stage in the first act, it was vocal acrobatics that the audience wanted. Mr. Alagna showed his experience with this opera, (this is his third production of Faust at the Met) blending well with his old partner René Pape as Méphistophélès. His finest moment came in the Act III aria "Salut, demeure chaste et pure," which he delivered with supple tone and a smooth legato.

The tenor had a stage manager request the audience's indulgence in the pause between Act IV and V, claiming that he was ill and that he would attempt to finish. To be fair, he strained in the heavy orchestra in the (usually cut) Walpurgisnacht ballet. But he recovered for the final trio, helping to bring the prison scene to a thrilling climax. Mr. McAnuff's added last scene, where an aged Faust returns to the stage to drink poison (invalidating the whole opera) was played as a quick afterthought.

Mr. Pape continues to excel as Méphistophélès, the embodiment of well-dressed evil. Making his entry in a natty white suit, Mr. Pape toyed with the other singers and the audience. Once more, he rocked the Song of the Golden Calf. He would offer ironic commentary at one point, tear through an aria at another, and play to the house with gusto, as if letting the spectators in on the magnificence of his maleficent design.

Baritone Brian Mulligan gave a strong performance as Valentin, Marguerite's notoriously unforgiving brother. His burly stage presence and steady tone made this soldier an impressive figure, both in the famous "Avant de quitter ce lieux" and the Act IV duel with Faust. Mr. Alagna brought particular enthusiasm to this scene. He thoroughly enjoyed himself in the sword-fight. 

Mezzo-soprano Theodora Hanslowe, who inherited the role of Marthe after an onstage accident felled mezzo Wendy White, played along beautifully in the Act II quartet. Her interplay with Mr. Pape was a comic highlight of the performance. At one point, Marthe chased Mr. Pape across the back line of the stage, as if the Prince of Darkness would make a suitable date for Friday night. 

Also intact in this performance was the lyric, powerful conducting of Yannick Nézet-Séguin, who has particular command over the big choruses that pepper this score. The Met chorus also gave a fine, lusty performance, as the Act II and IV soldiers. Later, they brought cosmic weight to the forces of good and evil as Goethe's drama plays out in the final act.

Singer's Fall Stops Faust

Wendy White suffers fall during Saturday evening performance.

In the garden, before the fall. René Pape (left) as Méphistophélès duets with mezzo Wendy White
in Act III of Faust. Photo by Ken Howard © 2011 The Metropolitan Opera.

According to reports in the New York Post, New York Times and parterre.com, mezzo-soprano Wendy White fell last night during Act III of Faust at the Metropolitan Opera. The show was stopped. Ms. White was taken to the hospital.

According to Met press officer Peter Clark, Ms. White suffered bruises. As of Sunday night, she was released from the hospital and is "resting at home."

The fall happened at the start of the quartet between Faust, (Jonas Kaufmann) Méphistophélès (René Pape), Marguerite (Marina Poplavskaya) and Marthe, the character played by Ms. White. The quartet contrasts the romantic singing of Faust and Marguerite with the byplay between the devil and the nurse.

According to eyewitness accounts published on the parterre.com message boards, Ms. White was entering behind Mr. Pape, with both singers on the multi-tiered scaffolding on one side of the stage, when she suddenly disappeared. A "loud crashing noise" was heard. Mr. Pape turned to the conductor and made a "cut" gesture with his hand slashing across his throat. Mr. Kaufmann was heard to say "Sorry, we have to stop." The curtain came down quickly.

A stage manager came out and asked the audience to remain in their seats while the incident was sorted out. Five minutes later, she returned, and announced that there would be an "early intermission." After a 25 minute pause, the opera resumed with Tamara Mumford taking over the role of Marthe. Conductor Pierre Valet  picked up the work from Faust's line "Eh quoi, toujours seule?"  This time, the singers made their entrance from the wings, not the set. The opera ended late, about 12:35.

According to a Met press representative quoted in the Times article, the accident was caused when a hinge, which connected a piece of plywood to the spiral stairway broke. The plywood fell, and Ms. White fell with it, landing on her back. Considering that the elaborate scaffold set is almost 25 feet high, she may have been very lucky indeed. 

Wendy White is a Metropolitan Opera fixture who made her debut as Flora in a 1989 production of La Traviata. We here at Superconductor would like to wish her a speedy recovery, and express relief that the singer is apparently unhurt.

Opera Review: How to Ignore an Atomic Bomb

The Met's nuclear Faust avoids a meltdown.

by Paul J. Pelkonen

Marina Poplavskaya, René Pape and Jonas Kaufmann in Dez MacAnuff's re-imagined Faust.
Photo by Ken Howard © 2011 The Metropolitan Opera.

The Metropolitan Opera's new staging of Faust shouldn't work.

The production, by director Dez McAnuff, updates the opera to an underground atomic research bunker, sometime before the end of World War II. The staging is in modern dress, and key plot points are somewhat altered. And like many Met stagings in the Peter Gelb era, it's "co-produced" with another house--in this case the English National Opera. But the result does work--and is the most satisfying Faust to be delivered at the Met in several decades.

Devil in a Black Dress

René Pape as Mephistopheles at Covent Garden.
Photo © 2011 Royal Opera at Covent Garden

Rene Pape breaks out the new Fall line for Faust.

The opera blogosphere is buzzing today over this photo from the revival of David McVicar's 2004 Covent Garden production of Gounod's Faust. The opera  had its season premiere on Sept. 18.

The German bass-baritone sings the role of Méphistophelès, the devil who spends five acts negotiates for possession of the title character's soul. The Prince of Darkness is less successful in his attempts to ensnare Marguerite (Faust's love interest.) But by the looks of things, he manages to acquire the soul of her couturier.

René Pape (seated) as Mephistopheles at the Met.
Photo by Marty Sohl © 2005 The Metropolitan Opera

The dress shows up in the Walpurgisnacht scene in Act IV, a huge ballet sequence with Méphistophelès leading all of the demonic powers of hell in a terpsichorean celebration of how cool it is to be the Devil. Most productions, including stagings at the Met over the last three decades leave the sequence out entirely.

Whatever one thinks of Mr. Pape playing the Devil in drag, the sartorial results are infinitely better than the 2005 production of Faust mounted at the Met. This production put the German bass in a clumsy, rubber suit covered with fake, rippling muscles.

This monstrosity (for there is no other word) appeared in the Church scene the intense moment in Act III where Méphistophelès tries to collect Marguerite's soul. The costume was a visual reference to William Blake's famous painting, The Great Red Dragon and the Woman Clothed With the Sun.

The result: an audience that couldn't stop laughing during the church scene in Act IV. Their laughter was audible during the live broadcast.

The production appeared for one season, and was never revived.

Its replacement arrives at the Met this November, a collaborative staging between the Met and the English National Opera. The staging (by Jersey Boys director Dez McAnuff) reimagines Faust as a metaphor for the creation of the atomic bomb in the mid-20th century.

Mr. Pape will reprising the role of the devil at the Metropolitan Opera opposite tenor Jonas Kaufmann and soprano Marina Poplavskaya in the role of Marguerite. Luckily for the singer, the Devil in this staging gets to wear some nice white and black suits and a collection of spiffy hats. Ms. Poplavskaya was a late replacement for Angela Gheorghiu, who was to sing Marguerite but backed out earlier this year.

There is no word yet on whether the Walpurgisnacht ballet will be included. But if it is, wouldn't it be cool if René Pape showed up in a radiation suit?