Richard Strauss: Salome
Teatro Comunale di Bologna, Nicola Luisotti
ARTHAUS 101699
Over the years there has always been a continuing concern about the stage presentation of Salome. The music is lush, romantic and carries us away on its tides of emotion, while at the same time the overtones of necrophilia and masochism can be very disturbing. Director Gabriele Lavia neatly subverts this by raising the Baptist’s head as an enormous carving which acts as a day bed for Salome to act out her fantasies. The idea works well and forces us to pay more attention to both text and music rather than being revolted at the act.
The production is very strongly sung with an outstanding Herod from Robert Brubaker and darkly impressive Jochanaan from Mark D Doss.
Erika Sunnegardh creates a complex Salome, her lightning changes of mood and body language reflecting her unstable mental state. The voice is more than ample for the part though at times can be a little tight and hard-edged.
Orchestral sound is fine and balance still allows the singers to be heard – not always true in the opera house.
Gluck: Orfeo ed Euridice
A film by Ondrej Havelka
ARTHAUS 102184
Filmed in the baroque theatre in Cesky Krumlov Castle, the film draws on the resources of the whole building, using the passages and under-stage areas to fine effect in the second act. The approach is not a simplistic baroque restaging. The director uses the baroque scenery and movement as a dream image for Orpheus who is seen in the dressing room and, most effectively in the final moments, where he views Euridice from the empty auditorium – the baroque image being merely a memory of his dead wife.
Musically this is a fine performance but the use of the 1762 Vienna version means it is very short. Bejun Mehta is a fine male-soprano in the title role with Eva Liebau an attractive Euridice. Regula Muhlemann’s Amor is allowed an unusual amount of comedy and the chorus sing and dance with enthusiasm.
The small pit band is in 18th costume, and conducted from the side while they sit along either side of one long music stand.
Gershwin: Porgy and Bess
San Francisco Opera
EUROARTS 2059638
Since Glyndebourne famously brought Porgy and Bess back into the opera house there have been a number of very fine productions and this new one by Francesca Zambello is very much in that tradition. A naturalistic approach within a claustrophobic setting which draws on container storehouses as its basis, the emphasis is on a community within which events are worked out. The choral singing and acting is of a very high order, and the stage is filled with credible activity without ever losing focus.
Singing is genuinely operatic with Eric Owens a totally convincing Porgy and Laquita Mitchell a slippery and sexy Bess. Chauncey Packer understands the jazz potential of Sporting Life – but there are no weaknesses in the large cast.
Kay Stern manages the large forces with ease and creates many exciting and moving moments.
Donizetti: Don Pasquale
Glyndebourne Festival Opera
OPUSARTE OA 1134 D
Mariam Clement creates a highly credible world for Glyndebourne which is lively and often very funny. The strong cast is led by Danielle de Niese, who may not be to everyone’s taste as a performer but certainly has a gift for comic works. Alessandro Corbelli is a fine Pasquale. Enrique Mazzola drives his forces with panache and the whole is highly enjoyable.