#Olga Bezsmertna

[lesser-known-composers]

Gustave Charpentier (1860-1956) - Louise, Depuis le jour

Olga Bezsmertna

[guddysmith]

Heute vor zwei Jahren, also am 6. November 2022, fand in der Weimarhalle ein Benefiz-Gala-Konzert statt. Unter dem Titel "Den ist mein ganzes Herz" trat das Orchester des ХНАТОБ / СХІД OPERA unter der Leitung seines Chefdirigenten Dmytro Morozov auf. Einige Stücke wurden von Hartmut Keil dirigiert. (natürlich waren auch Татьяна Котюк und Kateryna Myronova im Orchester dabei) Als Gesangssolist:innen waren Catherine Foster, Sofia Soloviy, Oksana Dyka, Elena Shiriaeva, Olga Bezsmertna, Brit-Tone Müllertz, Sophiya Palamar, Andrei Bondarenko, TaeJun Sun und Oleksandr Pushniak zu erleben, der auch die Idee und die Organisation des Abends hatte. Als Moderator wirkte Uwe Schenker-Primus mit. Der Abend wurde durch der AWO Regionalverband Mitte-West-Thüringen unterstützt. Oberbürgermeister Peter Kleine eröffnete den Abend mit einem Grußwort. Das Herz in der Mitte des Bildes habe ich an diesem Abend am Solidaritätsbasar der Громада Українців Тюрінгії, Ukrainische Landsleute in Thueringen e.V. erworben. Ich hoffe, ich habe bei meiner Aufzählung niemanden vergessen.

[loosealcina]

WOLFGANG AMADEUS MOZART'S LE NOZZE DI FIGARO AT LA SCALA, OCTOBER 20, 2023

What do you do in front of something that doesn’t exist? It’s a little bit puzzling, but I think there’s no escape from that. The ways arts function are diverse. Even if Caravaggio painted it more than four centuries ago, we can have our Death of the Virgin experience to the full (provided we can go to Paris and enter the Grande Galerie). We can definitely read (and print, and read again) Der Zauberberg (as long as we don’t hit a Fahrenheit 451 situation). Yet we can’t have Giorgio Strehler’s (or Peter Brook’s, or Luca Ronconi’s) theater anymore. It’s gone. Which makes this specific production of Le nozze di Figaro (whose first appearance at La Scala [with Riccardo Muti on the podium] dates back to 1981)… a strange object. Essentially a shadow; I’d also describe it as a blank space that has been blocked/frozen/isolated for good. Besides, the orchestra conducted by Andrés Orozco-Estrada appeared to navigate through a perilous (or, at the very least, problematic) sea with great poise. Their own rendition of Le nozze di Figaro was unhurried, mostly in an impressively elegant, deliberate fashion. They would sound solemn, then tender and nostalgic, then dreamy. They did embrace long, meaningful pauses—that’s a big plus. If I had to decide on a downside, I’d say these Nozze were a tad on the rigid/mechanical side as far as phrasing is concerned. As for the cast of actors/singers, there were two performances I was especially partial to.

Olga Bezsmertna’s Countess was riveting from the outset, but I’d like to focus on her magnificent Act III solo scene first. As the introductory recitativo accompagnato began and unfolded—fierce, tenebrous, brooding—I was like, this could easily be the Queen of the Night. And the extended moment of perfect stillness in which she took a deep breath before launching into the Aria, it absolutely could have been the threshold of wrath, thunder, and thirst for blood. (In other words: «Der Hölle Rache kocht in meinem Herzen»). She went for «Dove sono i bei momenti» instead, which is close to the opposite of that. But the little Königin within her—the possibility of a Königin—was there to stay. This Countess was reminiscent of several other characters, as well. Apart from the Marschallin from Der Rosenkavalier (the most predictable [if extremely momentous] one), I’m positive I detected particles of Katerina Izmajlova (aka the Lady Macbeth of the Mtsensk District) and Lulu. The second pinnacle of the night was, to me, Svetlina Stoyanova’s portrayal of Cherubino. It’s not that easy to elaborate on the how, but the sheer qualities of her voice—somewhat pearlescent, dusky, at times all but the exact replica of a series of instruments: from the pan flute to a pipe organ, to a contemporary keyboard/synthesizer—turned two iconic tunes («Non so più cosa son, cosa faccio» [Act I] and «Voi che sapete/che cosa è amor» [Act II]) into the tentative exploration of some hazy, uncharted territory—possibly inhabited by the very same fairies and pixies you find in William Shakespeare’s A Midsummer Night’s Dream.

[monotonous-minutia]

also apparently it’s Mozart Week at Vienna and here’s the lineup:

Sunday, February 7, 2021, 7:00 p.m. Wolfgang Amadeus Mozart LE NOZZE DI FIGARO (performance of February 4, 2021) Opera buffa in four acts Musical direction: Philippe Jordan Production: Jean-Pierre Ponnelle With among others: Andrè Schuen, Federica Lombardi, Philippe Sly, Louise Alder, Virginie Verrez Tuesday, February 9, 2021, 7:00 p.m. Wolfgang Amadeus Mozart DON GIOVANNI (performance of November 1, 2015) Dramma giocosa in two acts Musical direction: Adam Fischer Production: Jean-Louis Martinoty With, among others: Mariusz Kwiecien, Erwin Schrott, Marina Rebeka, Juliane Banse, Benjamin Bruns Wednesday, February 10, 2021, 7:00 p.m. Wolfgang Amadeus Mozart LA CLEMENZA DI TITO (performance of April 4, 2016). Dramma serio per musica in two acts Musical direction: Adam Fischer Production: Jürgen Flimm With among others: Benjamin Bruns, Caroline Wenborne, Margarita Gritskova, Hila Fahima, Miriam Albano Thursday, February 11, 2021, 7:00 p.m. Wolfgang Amadeus Mozart LE NOZZE DI FIGARO (performance of February 4, 2021) Opera buffa in four acts Musical direction: Philippe Jordan Production: Jean-Pierre Ponnelle With among others: Andrè Schuen, Federica Lombardi, Philippe Sly, Louise Alder, Virginie Verrez Friday, February 12, 2021, 7:00 p.m. Wolfgang Amadeus Mozart THE MAGIC FLUTE (performance of January 4, 2015) Opera in two acts Musical direction: Adam Fischer Production: Moshe Leiser, Patrice Caurier With among others: Benjamin Bruns, Olga Bezsmertna, Íride Martínez, Markus Werba, Annika Gerhards Saturday, February 13, 2021, 7:00 p.m. Wolfgang Amadeus Mozart DIE ENTFÜHRUNG AUS DEM SERAIL (performance from October 12, 2020) German Singspiel in three acts Musical direction: Antonello Manacorda Production: Hans Neuenfels With among others: Lisette Oropesa, Christian Nickel, Regula Mühlemann, Emanuela von Frankenberg, Stella Roberts, Daniel Behle, Michael Laurenz, Christian Natter, Ludwig Blochberger, Goran Jurić.

(they also did Idomeneo last week instead for some reason but I did catch it and it was very strangely edited and the production concept was strange but Idamante was very cute) (also the very cute Idamante is playing Sesto in the Clemenza) (also this is like the third time they’ve changed the streaming date for Nozze so I hope this one sticks)

https://www.wiener-staatsoper.at/en/staatsoper/media/detail/news/current-streaming-schedule/

(Final note: they do make you log into an account to watch now but it’s still free and you just need a username and password)

[lenskij]

Onegin ask #7346: So, who are your top 5 Tatyanas? I have the feeling that the Tumblr's "crowd favourite" isn't actually your #1 👀.

This is a difficult one! While there's quite clearly a best Onegin, it's not so easy to say who does Tatiana best - there are so many good ones!

I'm fairly sure I'll change my mind as soon as I post this, but after careful consideration, here goes:

1. Olga Bezsmertna

2. Renée Fleming

3. Yekaterina Goncharova

4. Anna Netrebko

5. Asmik Grigorian

I changed my mind about five times while I typed this lol. This is a cruelly difficult question! Thank you for asking though 💚💚

[joaquimblog]

STAATSOPER DE VIENA 2018/2019: ARIADNE AUF NAXOS

STAATSOPER DE VIENA 2018/2019: ARIADNE AUF NAXOS

Adrianne Pieczonka (Adriane) i Charles Workman (Bacchus) a la Staatsoper de Viena 13 de setembre de 2018

Com cada any inaugurem l’activitat de les temporades regulars operístiques dels millors teatres amb els streamings de l’òpera estatal vienesa, que és la primera en inaugurar temporada i la primera en oferir-la en directa a través del seu canal privat de pagament  moltes de les representacions,…

[jurnalgeorgenescu]

Zemlinsky Der Zwerg

OLEG CAETANI conductor

CARMEN LIDIA VIDU multimedia director

LUCIA CESARONI The Infant (soprano) OLGA BEZSMERTNA Ghita (soprano) KRISTINN SIGMUNDSSON The Chamberlain (bass) RODRICK DIXON The Dwarf (tenor) ANTONINA CHEHOVSKA First Maid (soprano) HAGAR SHARVIT Second Maid (soprano) MARGARET PLUMMER Third Maid (alto)

[operaeoperanews]

Live streaming tonight from the @wienerstaatsoper FALSTAFF Don’t miss it! #falstaff #verdi #wienerstaatsoper #soprano #nannetta #davidmcvicker #livestreaming #toitoitoi #jamesconlon BESETZUNG | 30.01.2019 DIRIGENT James Conlon REGIE David McVicar BÜHNENBILD Charles Edwards KOSTÜME Gabrielle Dalton LICHT Paul Keogan BEWEGUNGSREGIE Leah Hausman Falstaff Carlos Álvarez Ford Simon Keenlyside Fenton Jinxu Xiahou Alice Ford Olga Bezsmertna Nannetta Hila Fahima Mrs. Quickly Monika Bohinec Meg Page Margaret Plummer Dr. Cajus Michael Laurenz Bardolfo Herwig Pecoraro Pistola Ryan Speedo Green Photo: Michael Pöhn . #Repost @hila.fahima • • • • • https://www.instagram.com/p/BtRNXg-hpu-/?utm_source=ig_tumblr_share&igshid=1a05wiphxbzix

[loosealcina]

ANTONÍN DVOŘÁK’S RUSALKA AT LA SCALA, JUNE 13, 2023

It’s been known for ages—I mean, since way before the pharaoh who built the Great Pyramid of Giza was even born—that essentially any stream/body of water will make an effective door between this world and the other one(s). (I believe I read it in Alan Moore’s Voice of the Fire maybe?). I’d say this iteration of Antonín Dvořák’s Rusalka—created by Emma Dante, back at La Scala with a new production some fourteen years after her dazzling season-opening Carmen—was specifically designed to focus on one of these doors. It was as though somebody had set up a camera trap in the darkest, most secluded place you can imagine, in front of a pond in the middle of a nameless forest, so we could see what’s going on—especially after dusk has fallen. Only, the wildlife we get to observe is much stranger than expected. It wouldn’t be easy to keep a record of everything: sorcerers, enchanted bipeds and quadrupeds, the accidental explorer, minor deities… But first and foremost, we get to observe a water nymph named Rusalka. Her home would lie behind that eerie door: deep down at the bottom of an obscure, aqueous kingdom. In fact, she’s the daughter of the water goblin himself, the venerable Vodník; but she refuses altogether to accept the life she seems to be in for. Hence she’s but a struggling, melancholic, somewhat injured creature. She’s in love with a human prince (their thing is already [kind of] on when the curtain goes up); yet that circumstance alone activates a lethal curse nobody will be able to lift or escape. (Besides, the presence of two conspicuous villainesses—Ježibaba [a witch], and the Foreign Princess—won’t help in the slightest). Now that a sweeping synopsis is done, I’ll proceed to state that this Rusalka experience as a whole was—I’m using a technical term here—genuinely rad. Emma Dante went with extreme, awe-inspiring simplicity. (Rusalka and the Prince’s final scene—their deathly kiss, their naked words, their endless, motionless embrace—would be an excellent example of that). She also went with lowbrow art (namely Ray Caesar, Nicoletta Ceccoli, and the like). To me, this retelling—whose sets/costumes/lights were conceived by Carmine Maringola/Vanessa Sannino/Cristian Zucaro—was all but explicitly located in that peculiar universe.

Other than paying homage to a handful of talented artists, that choice ended up filling every inch of the stage with a pensive, direful contrast between (A) an archetypal version of childhood and (B) a sizable package of unspeakable perils (both internal and external) that childhood is bound to face. (Not without a penchant for that creepy/spooky/gory touch here and there). The orchestra conducted by Tomáš Hanus appeared reluctant to stray from a narrow area between forte and mezzo forte. This lack of variety was probably the lone part of the night I’m likely to grumble about, but there were a number of delightful exceptions; while the great ball at the castle (Act II) came with its own array of musical tricks and spells (whose actual magic was effortlessly transformed by Sandro Maria Campagna’s choreography into a gloomy dream within a dream), Rusalka’s Act I Song to the Moon—only magnificent—made me think that if, say, Clara Schumann, Emily Brontë, and Leonard Cohen somehow teamed up to pen a Song to the Moon together, the result would be drifting through the night in a very similar way. As for the cast. Out of the many assets of this brilliant operatic ride, one of my favorites was this: each and every character, either bigger or smaller (plus airborne, submerged, terrestrial, etc.) managed to come off as a complex, occasionally enigmatic, ultimately interesting individual. All the actors/singers did a spectacular job, but my listening heart was positively conquered by Olga Bezsmertna’s take on the role of Rusalka. I’m sure you remember the unceasing clash (A) vs. (B) I’ve mentioned a short while ago; now I promise, that very clash was entirely encompassed—ignited, boosted, boosted again, and eventually wiped out—by her voice. I’d call it a shape-shifting act. Her timbre mostly gravitated toward the gentle, unripe quality you’d associate with utter innocence and vulnerability and then, all of a sudden, an explosive rise capped with a shadowy, threatening high note would turn her persona into a fearsome nonhuman tragédienne (still in love [and hurting as well], but fearsome nevertheless). In case you’re interested in matching up the atmosphere of this fairy tale with a nice read, you can do what I’m currently doing and spend some time in the company of Sally Gardner and David Roberts’s Tinder (2013).

[lenskij]

Hello it's me again with another Onegin ask! (I love reading your answers <3) You've probably answered this before, but what are your (current) top 5 favorite Onegin productions?

Thank you for asking & those nice words! 💚💚 I might not be an Onegin expert, but I love sharing my love for the opera.

Here goes (house, year, Onegin, Tatiana):

1. Met 2007 Hvorostovsky Fleming

This is a surprise to no-one. I play it on loop constantly! There's just no one like Hvorostovsky to sing Onegin, I literally lost my mind the first time I saw it, and I haven't regained it since. I play bits and pieces of it every day (especially the final scene), I can't get enough of it!

2. Mariinsky-2 2016 Bondarenko Goncharova

The costumes here are all over the place, but everything else? Chef's kiss! The characterization was done right, (especially Olga!). Another favourite detail was how Eugene showed up to the Larins' party way overdressed - the costumer Gets it! Also the polonaise??? Fantastic. And they did the duel right!!

3. WSO 2018 Markov Bezsmertna

I saw this one live (shout-out to the 3€ standing seats!) and I'm so happy it got recorded so I can revisit it whenever I want. I knew Markov was great, but Bezsmertna?? BEAUTIFUL performance!! Her voice is AMAZING. And even though it was kinda modern adaptation, they made a normal duel - take note, directors!

4. Met 2017 Mattei Netrebko

I really like the artists here... The production doesn't do anything weird and lets the artists shine. This is the one I'd recommend to Onegin first-timers.

5. Helikon Opera 2016 Isaev Tolkmit

This is the wildcard of this list, it's different from anything else I've seen (but in a good way!) I really vibe with this one, it's fresh and fun.

I'm glad that Eugene Onegin is a popular opera, so that there are many productions to choose from. What all my favourites have in common is that they did the duel right (even if I'm peeved by the rifles in Met 2017). You can't make an EO without the duel, and it often falls between the cracks. It's about the will-they-won't-they shoot, isn't it? Listen to the music, that's what it's saying!

I know there are so many productions for me to discover <3 Though there's always a tug-of-war in my mind when it's time to watch EO - do I rewatch a production I know I love, or do I roll the dice and watch a new one?

[lenskij]

1, 3, 9!

thank you for asking!!

1.  favourite performance you ever attended

Difficult question... There are so many good ones that I love for different reasons... But if I have to pick one, I’ll go with the Onegin I saw at Wiener Staatsoper - it was my first time there, I was there with new friends, Markov sang Onegin, Olga Bezsmertna was a STUNNING Tatiana, and I loved the experience of getting early to the opera to line up for the standing seat tickets and eavesdropping on what the people in line were chatting about. I still remember how much my cheeks hurt from smiling, it was so exciting, I’ve been looking forward to go to the Wiener Staatsoper for so long and it’s Onegin and aaaaaaa!!

Please ask me this question again so I can talk about other fantastic performances I’ve seen

3. a piece perfect for your commute

I have a CD of VERY depressing Rachmaninoff romances sung by Hvorostovsky, which I play on loop in the car back in the day when I still had a daily commute. It is not perfect for commuting (don’t recommend starting or ending the day with depressing romances), but the car doesn’t have an AUX-port so my selection is limited :’)

9. a casting/singer’s voice you’ll defend to the death. (now tell us why)

The question implies that the opinion must be somewhat controversial, but I don’t know if I have any that someone would like to kill me over?

Though I’ve heard some critique of Peter Mattei’s Onegin, and to that I want to say: “HEY! Say that again, to my face! He’s an excellent Onegin!”

[joaquimblog]

STAATSOPER DE VIENA 2017/2018: CARMEN

Piotr Beczala i Margarita Gritskova, Don José i Carmen a Viena 29 de gener de 2018 La Staatsoper de Viena ha reposat una vegada més la producció de Carmen que Zeffirelli va fer fa més de 40 anys i que varen estrenar Domingo i Obraztsova, si no recordo malament i que va transmetre en aquell moment TV2 tot deixar-nos estorats i envejant un nivell que era difícil somniar per aquí. Tants anys després…

[joaquimblog]

Lise Davidsen (Ariadne) Staatsoper de Viena

Davidsen i Gould a Ariadne auf Naxos Viena 2017

Maria Nazarova (Najade), Ulrike Helzel (Dryade), Olga Bezsmertna (Echo) i Lise Davidsen (Ariadne)

Rachel Frenkel (compositor) i Erin Morley (Zerbinetta)

Ariadne auf Naxos, producció de Sven-Eric Bechtolf Viena 2017

Mireu, hi ha ocasions que un cantant pot eclipsar-ho tot encara que aquest tot sigui de nivell, però és que la seva grandesa artística és tan imponent i el fenomen és tan excepcional que tot al seu voltant s’empetiteix. Aquest és el cas de la grandiosa, en tots els sentits, Lise Davidsen que no és la primera vegada que m’enlluerna, aclapara i enamora, però mai com en aquesta ocasió, en la interpretació que va tenir lloc abans d’ahir a la Staatsoper de Viena de l’Ariadne auf Naxos de Richard Strauss i que la direcció de l’òpera vienesa va tenir l’encert de programar en la seva programació dels streamings del seu canal de pagament.

Estem davant d’un veritable fenómen artístic, d’una veu i una artista prodigiosa, amb unes facultats vocals extraordinàries, amb una veu plena, bella, de registre homogeni, d’emissió nítida i fascinant i molt jove que poc a poc va assumint rols de plenitud, sense segurament deixar-se endur per temptadores ofertes dels més imprudents agents que estic segur que els hi agradaria que ja ho cantés tot, perquè la seva veu de soprano dramàtica és una temptació.

Quan molts diuen que estem davant de la nova Flagstad ni exageren, ni erren. Davidsen és la veu més important per la qualitat, que ha aparegut en les darreres dècades i si no s’espatlla i l’espatllen està destinada  a fer-ho trontollar tot.

La luxosa opulència de la veu, l’afinació, la facilitat en l’emissió, el color atractiu i càlid, el fraseig propi d’una gran liderista i el sentit dramàtic/tràgic del seu cant és d’una excel·lència inusual. Amics: Reclinatori, altar major i capella catedralícia per santa Lise Davidsen.

És clar, al voltant ja hi pot haver un equip sòlid, perquè serà difícil trobar cantants a la seva alçada.

Bé la Zerbinetta d’Erin Morley, sempre una mica per sota de la genialitat de les sopranos que han deixat petjada.

Magnífica la mezzosoprano israeliana Rachel Frenkel, una veu i una presència idònia per interpretar el rol. Expressiva, de cant expansiu i arrauxat que tan bé li va al personatge, però que al final li juga una mala passada.

El Bacchus de Stephen Gould és feridor, sobretot en el duo final al costat de l’opulència de Davidsen, perquè tot allò que en ella és control, expressivitat, musicalitat i intel·ligència, en ell és aproximació, notes i emissions forçades, atemptant contra l’afinació i l’elegància heroica d’una part tan exigent com curta.

Magnífic el mestre de música de Markus Eiche al capdavant d’un magnífic conjunt de cantants de la casa,

El venerable Peter Schneider dirigeix amb classe i sapiència i la confosa i a estones estèticament agradable producció de Sven-Eric Bechtolf ja vista a Salzburg l’any 2012 (Magee, Kaufmann, Mosuc) i recuperada a Viena, té la virtuts i els defectes d’aquelles produccions que volen dir moltes coses però no saps ben bé el què. El que està clar és que el vestit de lleopard de Bacchus li esqueia millor a Kaufmann que a Gould, que s’ha de tapar amb una capa per evitar les comparacions sempre odioses.

Al goig d’escoltar una òpera tan inspirada i bella s’uneix la fascinant Davidsen, que corre el perill d’enfosquir-ho tot al seu voltant perquè ella és la llum.

No la perdeu de vista

Richard Strauss ARIADNNE AUF NAXOS òpera en un pròleg i un acte llibret de Hugo von Hofmannstha

Die Primadonna (Ariadne) Lise Davidsen Der Haushofmeister Peter Matić Ein Musiklehrer Markus Eiche Der Komponist Rachel Frenkel Der Tenor (Bacchus) Stephen Gould Zerbinetta Erin Morley Offizier Daniel Lökös Tanzmeister Thomas Ebenstein Perückenmacher Wolfram Igor Derntl Lakai Marcus Pelz Harlekin Manuel Walser Scaramuccio Peter Jelosits Truffaldin Ryan Speedo Green Brighella Pavel Kolgatin Najade Maria Nazarova Dryade Ulrike Helzel Echo Olga Bezsmertna

Orchester der Wiener Staatsoper Director musical: Peter Schneider

Director d’escena: Sven-Eric Bechtolf Escenografia: Rolf Glittenberg Disseny de vestuari: Marianne Glittenberg Disseny de llums: Jürgen Hoffmann

Staatsoper de Viena 29 de novembre de 2017

STAATSOPER DE VIENA 17/18: ARIADNE AUF NAXOS PER LA SENSACIONAL LISE DAVIDSEN Mireu, hi ha ocasions que un cantant pot eclipsar-ho tot encara que aquest tot sigui de nivell, però és que la seva grandesa artística és tan imponent i el fenomen és tan excepcional que tot al seu voltant s'empetiteix.

[joaquimblog]

Christopher Ventris (Parsifal) Viena 2017 Producció Alvis Hermanis

Parsifal Viena 2017 Producció Alvis Hermanis

Nina Stemme (Kundry) Parsifal 2017 Producció Alvis Hermanis

Parsifal Viena 2017 Acte 3er Producció Alvis Hermanis

Noies flor (Parsifal) Viena 2017 Producció Alvis Hermanis

Kwangchul Youn (Gurnemanz) Parsifal Viena 2017 Prodcucció Alvies Hermanis

Gerald Finley (Amfortas) Parsifal Viena 2017 Producció Alvis Hermanis

Avui us parlo del nou streaming de la nova producció del sempre desconcertant  Alvis Hermanis pel Parsifal de Richard Wagner a la l’òpera de Viena, amb la direcció musical de Semyon Bychkov i un equip de cantants notable en el que destaquen el debut en el rol de Kundry de la soprano sueca Nina Stemme i l’Amfortas del baríton canadenc Gerald Finley, ben acompanyats per la solvència de Christopher Ventris en el rol titular i Kwangchul Youn com a solid més que definitiu Gurnemanz.

El director rus Semyon Bychkov es fa càrrec de la relaxadíssima direcció musical, amb temps més que amples i una bella lentitud que mai fa que es perdi el discurs dramàtic. Ja vaig dir-ho arran de les representacions al Teatro Real i aquí a Viena es torna a repetir, els actes extrems més místics i contemplatius l’inspiren més que no pas la carnalitat del segon, que malgrat la poderosa presència d’una Stemme en plena forma, li queda massa distant. A vegades la intensitat sonora ofega a les veus menys poderoses (el sempre eficient Ventris), però la seva direcció té moments esplèndids i el conjunt és coherent, obtenint de l’orquestra de la Staatsoper una sonoritat wagneriana esplèndida.

Magnífic també el cor reforçat de la casa, `peça fonamental per l’èxit d’aquesta òpera.

Vocalment la representació té un bon nivell de conjunt. Ningú grinyola i alguns excel·leixen.

El tenor Christopher Ventris és Parsifal, un rol que ha fet arreu (també al Liceu) i és garantia de seguretat, musicalitat  i solvència. No té una veu que colpeixi en els moments més intensos,ja que el instrument és molt líric i la intensitat és relativa. Malgrat que ha fet front a rols exigents al llarg de la seva carrera, sembla que a la veu aquests esforços no li han passat excessiva factura. El seu cant és distingit, amb detalls de classe i un us de les mitges veus en el tercer acte, que s’agreixen en un rol que està a mig camí entre el misticisme de Lohengrin (no cal oblidar que és el seu pare) i l’heroïcitat impertinent del jove Siegfried.

També està garantida la musicalitat, la bellesa sonora i la noblesa en el Gurnemanz de Kwangchul Youn, potser mancat de més presència sonora en els grans moments on ha d’imposar autoritat i també personalitat. És tota una garantia i malgrat que avui en dia hi ha un parell o tres de baixos que el superen, el seu Gurnemanz és tota una referència i un goig.

Magnífic l’Amfortas de Gerald Finley, per la intensitat de la interpretació, gens exagerada, més aviat austera i interioritzada, amb una veu molt homogènia de color i de timbre bell.

No em va agradar tant el Klingsor de Jochen Schmeckenbecher, no per la intensitat sinó per l’oscil·lació de les notes més sostingudes.

Rotund i ajudat per l’amplificació que l’aproximava més al Fafner que no al moribund para d’Amfortas, el Titurel de Jongmin Park,

La nova producció del director letó Alvis Hermanis és visualment impactant i dramàticament incomprensible o si ho voleu més gràfic, una bogeria.

Visualment impactant perquè Hermanis que també es fa càrrec de la magnífica escenografia, embolcalla l’acció a l’interior d’un hospital psiquiàtric en plena ebullició del Jugendstil, moviment artístic que tenia en la vessant arquitectònica entre els seus representants més il·lustres a Otto Wagner (Wagner spital) de qui Hermanis copia els espais de les sales o la capella del hospital psiquiàtric Steinhof amb una fidelitat admirable.

L’escenografia pràcticament no canvia i només hi ha unes vidrieres bellíssimes que separen les escenes i els diferents espais, amb uns despatxos laterals on no hi faltarà el divan de Freud o unes prestatgeries farcides de llibres, cervells i fetos, tot molt estètic, tot molt malaltísment bell, tot extraordinàriament gèlid, asèptic i distant.

I dramàticament incomprensible perquè la bogeria de Hermanis de portar l’acció a un  hospital psiquiàtric on hi ha dos metges, un bo i humà  (Gurnemanz) i un dolent i pervers (Klingsor) mentre la resta estan tots tocats del bolet, amb una Kundry que al primer acte necessita camissa de força i a la segona, després d’una sessió d’electroshock esdevé una mena de diva extreta d’un quadre de Klimt o un Amfortas que la llança li va travessar el cervell, grinyolen en l’immensa majoria de les escenes, sobretot perquè el personatge de Parsifal no hi pinta res en mig d’una narració on sembla que a Hermanis el molesti.

La producció està allunyada de qualsevol connotació religiosa, tot és presumiblement molt més científic, malgrat que lluitar contra l’espiritualitat de la partitura esdevé un anar contracorrent sense sentit.

No us negaré que hi ha imatges molt potents, però res s’explica bé o allò que s’inicia amb una certa coherència narrativa acaba per no desenvolupar-se de manera comprensible  perquè a Hermanis li costa molt adaptar la seva bogeria amb el llibret de Wagner. El director té moltes idees, moltes robades o prestades d’altres muntatges (la referència hospitalària funcionava molt millor en la magnífica producció de Guth) o aquella gramola  on Gurnemanz sembla que a l’inici es posi a escoltar una gravació del Parsifal wagnerià que em remet a la producció de les produccions (Herheim). No conec l’alemany i per tant no sé el que diu un espectador en els segons de silenci amb l’escena encara oberta del final del tercer acte, segur que alguna cosa ocurrent o per no desentonar, una bogeria.

Al final del primer acte l’intent d’aplaudiment és avortat per l’ortodòxia wagneriana vienesa. En els altres dos actes l’èxit és més que notable.

Richard Wagner PARSIFAL

Amfortas – Gerald Finley Gurnemanz – Kwangchul Youn Parsifal – Christopher Ventris Klingsor – Jochen Schmeckenbecher Kundry – Nina Stemme Titurel – Jongmin Park 1. Gralsritter – Benedikt Kobel 2. Gralsritter – Clemens Unterreiner 1. Knappe – Ulrike Helzel 2. Knappe – Miriam Albano 3. Knappe – Thomas Ebenstein 4. Knappe – Bror Magnus Tødenes 1. Blumenmädchen – Ileana Tonca 2. Blumenmädchen – Olga Bezsmertna 3. Blumenmädchen – Margaret Plummer 4. Blumenmädchen – Hila Fahima 5. Blumenmädchen – Caroline Wenborne 6. Blumenmädchen – Ilseyar Khayrullova Stimme von oben – Monika Bohinec

Orchester der Wiener Staatsoper Chor der Wiener Staatsoper Bühnenorchester der Wiener Staatsoper Extrachor der Wiener Staatsoper Kinder der Opernschule der Wiener Staatsoper Director del cor: Martin Schebesta Director musical: Semyon Bychkov

Director d’escena: Alvis Hermanis Escenografia: Alvis Hermanis Disseny de vestuari: Kristine Jurjane Video: Ineta Sipunova Disseny de llums: Gleb Filshtinsky

Staatsoper de Viena, 13 d’abril de 2017

La proposta és bastant inútil però no molesta, ni tampoc irrita, perquè el disseny és esplèndid, ja sigui l’escenogràfic, com el del vestuari de Kristine Jurjane o el gèlid, fins i tot en les estances càlides de Gurnemanz o el divan freudià de Klingsor, disseny de llums de Gleb Filshtinsky. El millor rau en la vessant musical i vocal, quelcom que sempre, sempre, sempre, s’agraeix, sobretot aquí a can IFL

STAATSOPER DE VIENA 2016/2017: PARSIFAL (Ventris-Finley-Youn-Stemme-Schmeckenbecher;Hermanis-Bychkov) Avui us parlo del nou streaming de la nova producció del sempre desconcertant  Alvis Hermanis pel…

[loosealcina]

FRANCESCO CAVALLI’S LA CALISTO AT LA SCALA, NOVEMBER 5, 2021

Out now: a three-hour crash course on love, stars (or celestial bodies in general), and the inextricable link between them. Feeling ready to enroll? You can also rely on (I mean, sort of rely on) my own experience before you make up your mind. Here’s how everything unfolded. (Short Pause). Way back, in the remote age of always, the quintessential Arcadian woods (central Peloponnese; the name Arcadia will only come later because of Calisto’s future son, but still) are home to—or occasionally visited by—a remarkably diverse group of characters: humans (Calisto and Endimione), gods (Giove himself, Giunone, Diana, and Pane), and several weirder entries such as satyrs and nymphs, plus some invisible/unnamed beings. The storyline depicts the highs and lows of two couples: Giove/Calisto and Diana/Endimione. (Calisto is a follower of the virgin goddess Diana, the huntress; her name implies exceptional beauty. Endimione is a shepherd/astronomer whose extended, melancholic moon-gazing monologues could easily fit into Giacomo Leopardi’s body of work). In spite of a certain variety of tones and events, La Calisto—created by Francesco Cavalli and Giovanni Faustini for the Teatro Sant’Apollinare (Venice) in 1651—made me think of a solid, coherent monograph: a dissertation on love as the most disruptive, paradoxical, and unstoppable force you’ll ever be exposed to. It will make you plain stupid, and it will lift you through galaxies. It’ll be the prison you hate, and the immaculate blue sea you dive into. As for Francesco Cavalli’s music, it seemed to turn the whole of it into a hypnotic, solemn, slow-burning hymn.

It should be noted that the orchestra—Les Talens Lyriques, with some reinforcements from the Orchestra del Teatro alla Scala (all playing period instruments, and all conducted by Christophe Rousset)—sounded absolutely peculiar. I’d say there was a deliberate pursuit of imperfection (read: raw edges, brutal attacks, irregular waves in long notes, etc.) which truly conveyed the idea of a living creature: something which was able to breathe, stretch its muscles, suffer, and obviously get its share of pleasure. (Or, in musical terms: it was as though the players were improvising La Calisto from scratch—it was that vibrant). Peculiar—or different—has to be a key word for what the actors/singers were doing, as well. There was little to no exertion/push for extreme power. It was more of a clean, orderly display of natural beauty. My favorite performers were Olga Bezsmertna and Chen Reiss, who were a captivating match—the former severe and darker, the latter lighter and vulnerable—as Diana and Calisto. On the other hand, David McVicar’s new production was the one part of the night I’d describe as a letdown. The sad/pessimistic side of the tale appeared to be stressed (especially in the finale), but that was pretty much it. That, and a number of hyperbolical costumes. And a good deal of old-school mimicry. And a telescope. Yet the magic hidden within the score was not to be hindered or dimmed by anything or anybody. I also feel like mentioning a series of echoes from just about anywhere in space and time. Apart from the predictable Claudio Monteverdi (Francesco Cavalli was a pupil of his), I maintain I detected Der Ring des Nibelungen and lots of Mozart (at the very least Die Zauberflöte and Don Giovanni). A touch of Interstellar (2014) and William Shakespeare’s Dream. Now can you guess whether I endorse this crash course or not?