EMI Classics


MacbethDmitri Shostakovich - Lady Macbeth of Mtsensk

Gran Teatre del Liceu, Barcelona, 2002 | Alexander Anissimov, Stein Winge, Nadine Secunde, Christopher Ventris, Francisco Vas, Anatoli Kotcherga, Graham Clark, Juha Kotilainen, Yevgeny Nesterenko | EMI Classics

Written in 1934 and being subject to intense criticism after meeting with Stalin’s disfavour due to its perceived lack of moral character, Lady Macbeth of Mtsensk is however one of those operas that is groundbreaking as much for its content and means of musical expression as for its historical importance. Musically, it’s an incredibly rich opera that doesn’t hold to any distinct style or school of music, but mixes and matches styles to suit the content. What is even more remarkable is that it finds such a variety of tone and mood – from comic to tragic – within the narrow range of its subject, which indeed, as Stalin feared, doesn’t exactly show the best side of human nature or the Russian temperament.

So even when it deals with the boredom of Katerina Lvovna’s life, married to the rich merchant Ismailov who is unable to give her a child, and subjected to the unwanted advances of her father-in-law who is quite willing to do what it takes to have an heir, Shostakovich finds expression in the music for the nature of her personal situation and, through the raucous activities and interaction with the workers, the entrapment of her social position. The score goes on to cover the range of emotions and the journey she is about to undertake takes when she starts to flirt with Sergey, a handsome, womanising new worker who has just been hired. Much trouble can come out of boredom and it also nurtures a prurient interest in the activities of the Ismailov household that leads the police force in Act 3 to investigate the subsequent activities that arise around the deaths of Katya’s husband and father-in-law.

The production, designed by Stein Winge, plays up these elements well, capturing the harshness of the setting in the dark and sparse sets, working with the music as well as the libretto. Beds feature prominently in this particular production of Lady Macbeth of Mtsensk, recorded in 2002 at the Gran Teatre del Liceu in Barcelona, even in scenes where they would not be expected to appear. Apart from the necessary fluidity that it allows in the sparse staging, there’s a continuity in Katya’s omnipresent bed in the first two acts, followed by the beds of the police barracks and the camp beds of the forced prison march on the steppes in Act 4, that suggests not only the sense of lassitude that exists, but also that bedroom activities are never far from the minds of the protagonists in an opera where sex and lust features prominently.

With all its passion, jealousy and murder, Carmen frequently comes to mind when following Lady Macbeth of Mtsensk, but Shostakovich uses a greater variety of influences and references, including huge rousing Verdi-like choruses for the sense of wild abandon, drunkenness and licentiousness that is aroused in the general population, but also achingly intimate arrangements and musical interludes to touch on other aspects of the intensely fatalistic Russian character of the piece, without ever making use of traditional folk melodies or music of a conventional Russian nature. Along with a terrific performance from the orchestra of the Liceu, the singing and dramatic presentation, with a few personal quirks and touches, are all superb, in particular Nadine Secunde as Katerina and Anatoli Kotcherga as the father-in-law.

I don’t think there’s any beauty in Lady Macbeth of Mtsensk, at least not in the traditional sense of the word, but there is a brilliance and a sort of terrible beauty in the way that Shostakovich finds expression for the darker side of human nature and the “huge black waves” that the Russian nature is prone to on a personal as well as a national level. As such this production allows the opera to work on a wider level than just being tied to a historical regime and period.

Lady Macbeth of Mtsensk is released on DVD by EMI Classics a two-disc set. The video, although widescreen enhanced at 16:9, is slightly lacking, partly due to the darkness of the stage, but also due to an inability of some of the camera operators to be able to focus their cameras. It’s reasonably well filmed however, getting the impact of the stage setting across well and covering the actions of the performers. There are three audio mixes, LPCM stereo, DTS 5.1 and Dolby Digital 5.1. All are excellent, with good dynamic range and clarity. The surround mixes in particular are strong, although the DD 5.1 is a little on the harsh side. There are no extra features on the set other than a showreel of other EMI titles, but the DVD insert contains details of the cast and production team and a PDF file on the disc has a short essay on the opera.

TieflandEugen D’Albert - Tiefland

Opernhaus Zürich, 2006 | Franz Welser-Möst, Matthias Hartmann, Matthias Goerne, Peter Seiffert, Petra Maria Schnitzer, Lázló Polgár | EMI Classics

Born in Glasgow in 1864, Eugen D’Albert’s musical education in Austria is however one that, based on what is evident in his opera Tiefland (1903), indicates that he is very much a disciple of the Wagnerian school, with even a bit of verismo in his choice of subject and its handling. Apparently Bizet’s Carmen was also an influence on the composer, but although there are a few musical leitmotifs that bear the mark of the original Catalan/Pyrenean setting of Tiefland (based on the play Tierra Baixa - The Lowlands - by Àngel Guimerà, also made into a controversial film by Leni Riefenstahl), the influence is more in the subject of romance, passion and jealousy in a bucolic setting leading to tragedy (a hint of Gounod’s Mireille in there also) than in the actual musical arrangements.

The poor fool caught in the middle of a romantic entanglement here that eventually stirs killing passions is Pedro, a simple shepherd in the mountains who is offered the hand of the miller’s daughter Marta and a place down in the lowland valley by the landlord Sebastiano. Pedro innocently accepts, unaware of the reality of the situation that is known to everyone else in the lord’s household. Sebastiano is in debt and needs to marry a rich woman, but that won’t happen as long as the knowledge of his affair with Marta is widely known and spoken about. His intention then is to safely marry her off to an innocent fool that she couldn’t possibly love so as to keep up appearances of respectability while she remains his “bit on the side”.

Musically, Tiefland follows the Wagnerian model, with long solo singing of emotional intensity that purposefully drives the drama forward, with little in the way of conventional arias, duets or choral arrangements, but the music has a strong musical presence and leitmotifs that support the singing and indicate the nature of the characters and their motivations. Matthias Goerne is strongest, both in voice and dramatically, making Pedro’s wide-eyed naivety convincing while at the same time showing that he has inner depths and integrity that could indeed draw Marta to rather precipitously fall in love with him. Petra Maria Schnitzer perhaps doesn’t look like she has natural gypsy dancer roots, but sings well as Marta. Peter Seiffert doesn’t quite have the fullness of tone or the menacing build that you would associate with Sebastiano, but takes on the villain role with some relish and without overplaying.

The staging of this 2006 production at the Opernhaus in Zurich attempts to visually steer the drama away from its obvious models and references, and is thereby quite successful in allowing the piece to stand on its own. Some of the decisions are quite bizarre – the opening prologue takes place in what looks like a science-fiction laboratory where the announcement of Pedro’s engagement takes place in a virtual reality, cleverly assembled on projected screens – but thereafter, up until its reappearance in the final scene, the rest of the production is more naturalistic, taking place however in a lush stately house rather than in any period country exteriors.

The 140 minute opera is spread across two-discs on the EMI Classics DVD. The image is 16:9, the image fine, showing a well-lit stage. Audio tracks are LPCM Stereo, Dolby Digital 5.0 and DTS 5.0. The sound is a little thin without the low-end, and sometimes a little echoing, but the singing and orchestra can all be heard clearly. Subtitles are in English, German, French, Spanish and Italian.