Fri 2 Sep 2011
Jacques Fromental Halévy - Clari
Opernhaus Zürich, 2008 | Adam Fischer, Moshe Leiser & Patrice Caurier, Cecilia Bartoli, John Osborn, Eva Liebau, Oliver Widmar, Giuseppe Scorsin, Carlos Chausson, Stefania Kaluza | Decca
It’s very rare to see any work by Jacques Fromental Halévy performed nowadays, and he may indeed be an unjustly neglected composer, but discovered by Cecilia Bartoli while exploring the repetoire of the famous Rossinian mezzo-soprano Maria Malibran, this early work, Clari from 1828, composed to allow her to demonstrate her extraordinary range, is certainly one of his most obscure and forgotten works by the composer. Respectfully played with period instruments by the Zurich La Scintilla orchestra under the baton of Adam Fischer, treated to a fresh production from Moshe Leiser and Patrice Caurier to give some character to a dreary and uneventful plot, and with Bartoli demonstrating her wonderful vocal range, Zurich Opera certainly give the opera a fair shot, but whether Clari is an opera that merits such treatment is debatable, and the overall feeling is that it really wouldn’t have been such a great loss if it had remained buried.
Composed for an Italian libretto, before Halévy’s more famous, or at least more celebrated, French opéra comique work, Clari is an opera semiseria, which doesn’t mean that it’s only half-serious and plays its silly plot out with tongue firmly in cheek (although the production half-heartedly and perhaps out of necessity plays it that way). Rather, it’s a kind of mixture of opera seria (long after it had gone out of fashion even in 1828) and bel canto, full of long arias pondering internalised emotions expressed with extravagant coloratura in the da capo singing. This is fine if an opera has an involving plot and strong characterisation that can bear the weight of all the deep expressions of guilt and shame that are agonised over in Clari, but the story is not so much ludicrous as flat and pedestrian.
It involves a young peasant girl, Clari, who leaves her family in the provinces and runs off with a rich Duke in search of wealth, a better life and, most importantly love – or at least at the bare minimum, marriage. The Duke however hasn’t fulfilled his promises in this respect – to the great shame of her parents – and when he starts referring to Clari as his cousin, the young woman is further dismayed with the situation she is in. When the Duke’s servants Germano, Bettina and Luca put on a play for Clari before assembled guests at a birthday party in her honour, the story so resembles her own situation that Clari – believing it to be real (!) – faints out of shame. That’s about as far as any plot goes in Act I. Act II has each of the characters agonise over the situation until Clari eventually recovers from the shock and decides she has to run away, returning to her home in the country to try to gain the forgiveness of her parents in Act III.
As far as dramatic and emotional content, that’s about as far as it goes. One doesn’t necessarily expect a complex or credible plot in a bel canto opera, but really, the libretto, by Pietro Giannone, is pretty banal and sparseness of the plot and hollowness of the emotional charge scarcely merits all the moaning and wailing about wanting to die of the shame and guilt of it all that is expressed at length in the arias. None of it feels sincere, although it not for want of trying on the part of the performers or the stage direction team. Leiser and Caurier go for a non-specific relatively modern time period, glitzy and colourful with big props in the style of Richard Jones, adding humorous and self-knowing little touches, but none of it is enough to breathe any life into this corpse of an opera, and their efforts consequently feel leaden and fall flat.
The Zurich audience don’t seem to be sure what to make of it either, laughing politely at one or two places, but are clearly bewildered about what to make of the character of Clari herself or the amount of effort and technique Cecilia Bartoli expends on the empty phrases of the libretto, all in the vain attempt to make her character come to life. It’s only in Act III that they belatedly decide to applaud the efforts of John Osborn’s Duke and give an enthusiastic and deserved ovation for Bartoli – but one feels they might have mistaken her garguantuan efforts as signaling the end of the opera a little before its time. Eva Liebau as Bettina and Carlos Chausson as Clari’s father also make notable contributions, but it’s hard to take their roles seriously or indeed “semiseriously”.
Released on DVD only as a 2-disc set, the colourful qualities of the staging suffer a little from the lack of a High Definition presentation. The image looks reasonably well in the brighter sequences, but it’s a little murkier in the scenes at the end of Act II and start of Act III. Perhaps being spoilt by DTS HD-Master Audio mixes, the quality of the audio lacks precision of tone, particularly on the lower frequencies, but it’s actually not bad on either mix, although I think the LPCM Stereo wins out over the DTS 5.1 Surround. There are no extra features on the DVD set, but there is a worthwhile booklet enclosed which includes an interview with Bartoli, an introduction to the work, productions notes, a synopsis and even a photo-novella of the opera.