Daily Archives: 17 March, 2013

La Forza del Destino

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Maggio Musicale Fiorentino, Zubin Mehta

ARTHAUS 107 325          178’00

This is in many ways a conventional production of La Forza del Destino by Nicolas Joel, which is in itself unusual today when so many new releases are far divorced from the composer’s ideas. That does not make it any the less valuable, given that there are no many versions of this work available, and few that have the solid musical values which this has. At its heart is the conducting of Zubin Mehta who manages to keep the drama moving forward intelligently even when the narrative line stretches credibility.

Violeta Urmana may not have great acting skills but she uses her voice intelligently and creates a sympathetic Leonora who is not over emotional. Marcello Giordani reminded me of Franco Corelli in his prime, a beautiful voice, well focussed and moving in its passion. They were well matched by the power of Carlo Guelfi as Carlo, whose brooding presence adds the necessary weight to proceedings.

Bruno de Simone is a positive Melitone but does not wipe out memories of Derek Hammond Stroud’s wonderful performance with ENO many years ago.

The chorus sing well but some of their stage presence is rather too static, with a deadly rataplan chorus, even if Julia Gertseva has the high notes for Preziosilla.

Given the sparcity of choice, this is a useful additon, but I look forward to a version which really does justice to one of Verdi’s too often neglected masterpieces. BH

The Flying Dutchman

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Birmingham Symphony Hall, 16 March 2013 CBSO and Chorus, Andris Nelsons

We have had some of the finest Wagner performances I can recall over the last fifteen months up here in Birmingham, and the CBSO Hollander was certainly amongst those. Andris Nelsons drove the performance with a ferocity and bite which made me slightly sad this was not the one act version, such was the intensity of impact.

In the event we had a two act version with a separate overture, together with the Tristan endings. However, the version used is nothing in comparison to the quality of the performance which in this case was inspired on almost all levels. I had thought of James Rutherford as a relatively young singer but in ten years he has moved from a BBC New Generation Artist to singing Hans Sachs at Bayreuth. Sadly we have yet to hear him in major Wagner roles in England and if his compelling reading of the Dutchman is anything to go by, the sooner we book him for major Wagner roles here the better. He not only sings the part with warmth and musicality, but brings an intelligence and sensitivity to it which was entirely in keeping with Andris Nelsons deeply humane reading.

Jennifer Wilson reminded me of the great sopranos of the sixties and seventies – Birgit Nilsson, Astrid Varney – with the power and sweep of the voice, unafraid of the high tessitura and commanding the orchestra. If the ballad in Act Two had been good, the final scene was mesmerising. Alastair Miles was a more homely Daland than is often the case, concerned for his family rather than a grasping capitalist, and here adding another sensitive Wagner character to his increasingly impressive list of parts.

Arnold Bezuyen was remarkable as Erik for the size of his voice which was heroic and lyrical throughout, yet rode the orchestra with ease, even when they were at full force. Nicky Spence was a relaxed and jovial Steersman, a good match for the equally secure Mary of Jane Henschel.

The acoustic seemed to have been adjusted in favour of a more pronounced echo which worked well most of the time, but left the on-stage male chorus sounding a little thin. The amplified ghost chorus made its mark but was confusing when both on and off stage men were provided by the same voices. The women fared rather better and all together they made a strong impact.

Let us hope Andris Nelsons will be encouraged to give us more concert performances of this quality. BH