Wiener Staatsoper


BolenaGaetano Donizetti - Anna Bolena

Wiener Staatsoper, Vienna 2011 | Evelino Pidò, Eric Génovèse, Anna Netrebko, Elīna Garanča, Ildebrando D’Arcangelo, Francesco Meli, Dan Paul Dumitrescu, Elisabeth Kulman, Peter Jelosits | Deutsche Grammaphon

The first of Donizetti’s operas to be a major international success, Anna Bolena is a tragedia lirica that sets the tone for a number of subsequent works in the same dark, historical vein – Lucrezia Borgia and the two other operas that comprise the composer’s Tudor trilogy, Maria Stuarda and Roberto Devereux. First performed in 1830 and reflecting perhaps the revolutionary spirit of the times – the depiction of Henry VIII here is in marked contrast to that of the merciful Metastasian kings of the past – these works differ considerably in tone from the now mostly forgotten comedy works by Donizetti that preceded them (and indeed from the more popular but considerably better written comic works that followed such as L’Elisir d’Amore and Don Pasquale), but the qualities and the value of Anna Bolena as a key work of the composer itself haven’t always been recognised either. It took an astonishing performance from Maria Callas in her prime in Milan in 1957, in a Luchino Visconti production, to once again bring this particular work to the attention of the opera-going public, and with it a newfound appreciation for Donizetti’s work.

In some ways, with this new production at the Vienna State Opera in 2011, followed by its appearance on the stage at the Met in New York (two different productions but both featuring Anna Netrebko in the title role), Anna Bolena is again proving to be a key work leading to a rediscovery and re-evaluation of Donizetti as being more than just a composer of bel canto, but one capable of developing works with considerable dramatic power and unexpected depth of character. I can’t think of any soprano at the moment who would be capable of drawing new depths in the work in the way Callas did dramatically, but in terms of star-power and personality, as well as having a voice of great substance to match, Anna Netrebko is among the very the best we have for this kind of role. The Vienna production consequently might not be quite such a revelation this time around, but it’s a creditable performance nonetheless that brings out the true qualities of the work, and often it’s even quite exhilaratingly impressive.

Bolena

Everything good that can be learned by the master Rossini is evident here in the disciple’s work, and it’s also possible to see the huge influence that Donizetti’s treatment of historical and romantic intrigues in Anna Bolena would have on Verdi’s mature works, and not just the early ones. I recently noted the use of duets in Donizetti’s late work Linda di Chamounix, but the dramatic and lyrical strengths of Anna Bolena also lie in such ensemble work, creating a fevered intensity to the love duets and to the confrontations between rivals, but creating additional complexity to the arrangements through quartets, quintets and choral work of remarkable power that carry those contradictory emotions and pronouncements. While such moments are hammered home to great effect and underscored by dark menacing tones, Donizetti’s sense of melody is also just as evident here as in the more tender moments and arias. Those elements are superbly brought out by Evelino Pidò and the orchestra of the Wiener Staatsoper, the drive of the musical forces being one of the most impressive aspects of this production (and one, I’m pleased to say, that is audible with remarkable detail and dynamism in the High Definition audio channels of the Blu-ray release).

Since the casting and singing is also of an extraordinarily high quality, it’s disappointing then that the stage direction by Eric Génovèse is so rigidly traditional. There is the merest suggestion of the courtly interiors of Windsor Castle, the same mostly fixed location adapted to a throne-room, a courtyard or a park as required, which at least means that there is a fluidity between scenes even if what takes place in them is largely static. It is of course difficult to stage such bel canto works, which are not terribly active dramatically, but the director here finds no imaginative solution, eye-catching arrangements or sets, leaving the performers to stride up and down the stage in the absence of anything much else to do. The costume design is at least impressive, enough to give the production some sense of dramatic realism, and the stage is brightly lit (perhaps with a few additional spotlights for the TV cameras), or at least the stars are well lit to shine brightly against the rather drab backgrounds.

And “stars” is not an accidental choice of words either, because they were undoubtedly the main attraction of this production, generating a great deal of press interest and commanding incredible prices for ticket sales. In the end, they all certainly live up to and almost justify the hype. Anna Netrebko in particular brings great presence to the role of Anne Boleyn. She’s not always the most convincing in the bel canto repertoire – although as Norina in another recent Donizetti role for the Metropolitan Opera’s Don Pasquale, she was outstanding – and this particular role represents a considerable challenge. It’s not just that Netrebko is following in the footsteps of so many great singers who have taken on the role in the past, from Guiditta Pasta – the original Anna B. – through to Maria Callas and Joan Sutherland, and unlikely to be able to stand up to the comparison, but her performance in this role also in a way represented more of a personal milestone that would consolidate her standing or define her limitations. In the event, her performance here kind of does both, but it must primarily be judged a great success.

Bolena

Netrebko’s performance of Anna Bolena is a mixed one, but such is her own force of personality and tone of voice that comparisons to other singers soon fall by the wayside, allowing her performance in the role to be judged on its own terms. At times she does seem to be absent from the character, her voice not quite capable either of reaching those deeper emotional depths, failing to find any colour or personality in a scene, but at other times – notably in her duet with Elīna Garanča’s Jane Seymour where she identifies her rival, and in her final death scene – she suddenly seems to let fly with superb control and genuine passion (the same mixed qualities incidentally could also be said applied to Donizetti’s writing for this particular work). She’s at least never anything less than compelling and commanding whenever she is on the stage, the viewer captivated by how she is going to deal with any given scene. The other principals are no less impressive, Garanča in particular entering fully into character and rising to the challenges it represents dramatically and vocally, while Ildebrando D’Arcangelo is a solid and convincing Enrico (Henry VIII). Francesco Meli’s Percy is also worthy of mention, genuinely impassioned and of sound vocal ability, if not always in perfect time with the conductor. Elisabeth Kulman also makes a strong impression in the lesser but vital role of Smeton.

The quality of the Blu-ray release of the 2011 Wiener Staatsoper production of Anna Bolena from Deutsche Grammaphon is outstanding. Filmed for the screen by Brian Large, the veteran opera screen director does well to make the most of the limited dramaturgy and stage movements, the strong lighting making this look just marvellous. The audio tracks, LPCM Stereo and DTS HD-Master Audio 5.0, are, as I mentioned earlier, astounding. There such great depth, dynamic and detail audible in the playing of the orchestra, as well as in the singing that you can’t help but be impressed by the performances. In terms of extra features, there are only brief introductions to each of the two acts in German by Elīna Garanča. Subtitles are in Italian, English, German, Spanish and French.

AlcinaGeorg Friedrich Handel - Alcina

Wiener Staatsoper, Vienna 2011 | Adrian Noble, Marc Minkowski, Les Musiciens du Louvre-Grenoble, Anja Harteros, Vesselina Kasarova, Veronica Cangemi, Kristina Hammarström, Alois Mühlbacher, Benjamin Bruns, Adam Plachetka | Arthaus

If it doesn’t do the mostly static and uneventful nature of Handel’s 1735 opera any favours, it’s at least appropriate that director Adrian Noble chooses to stage this production for the Weiner Staatsoper entirely within the ballroom of a stately house. Alcina does indeed feel small and intimate – some might say dry and mechanical – the kind of entertainment put on for the amusement of a gathering of nobles at an 18th century dinner party. That’s not exactly high-concept, but it’s about as adventurous as you’re going to get for a rare performance of a Baroque opera at the Vienna Staatsoper (the first in 50 years), and if it doesn’t do much for the opening up of Alcina, it at least recognises its limitations and, under the baton of the excellent Marc Minkowski, it’s about as good an account of the opera as you could expect.

The play within a play concept is only really nominally adhered to, the overture used to set the occasion within Devonshire House, where Georgiana Cavendish, Duchess of Devonshire and some guests (you would only know this from the production notes) put on a performance that perhaps appeals to or reflects their nature. The Duchess becomes the sorceress Alcina, who enchants men and then casts them off, changing them into wild beasts, trees or ghosts, left to roam her island. Her latest conquest is Ruggiero, who is unaware of his fate, but when his betrothed Bradamante (disguised as a man, Ricciardo) and Melisso, her tutor, come to rescue him, Alcina recognises that she may indeed have real feelings for him. There’s not a whole lot more to the opera than this. There are a few additional complications added with Alcina’s sister Morgana falling in love with Ricciardo (not realising he is actually Bradamante), which enrages Oronte, Alcina’s general who is in love with her. There’s another figure, Oberto, taken in after he and his father were shipwrecked on the island (his father since turned into a wild beast). And just in case that’s all not confusing enough, there are the usual identity problems with trouser roles to come to terms with. Not only is the young boy Oberto played by a female, but Ruggiero is a woman playing a male role who is betrothed to a woman dressed as a man.

AlcinaT

That’s complicated enough to get your head around without having to consider that Adrian Noble’s production has historical figures playing these roles, but it’s not as complex as it sounds. The dramatic action is limited and the emotional content isn’t that deep, the endless da capo arias expressing no profound wisdom or inner turmoil and no noble sentiments beyond simple expressions of love, rejection and love again, repetitively back and forth as awareness of identities and natures are revealed. Essentially, it’s a case of the power of true love prevailing. Handel’s Italian operas can be rather dramatically limited in this respect – certainly when compared to his oratorios – and Alcina seems relatively straightforward in its playing out of the situation, with arrangements that aren’t particular complex. Mood and character however are tastefully evoked throughout, but there are indeed also some beautiful heart-rending arias and melodies by the time the characters reach the crux of their situation at the end of Act II and in Act III.

If the staging is slightly static in an opera where nothing much happens – a fact only emphasised by non-participant guests sitting around watching the performance – Adrian Noble at least makes it all look very lovely indeed, with striking lighting, colours and simple effects that are appropriate to the occasion but highly effective. The tone is matched by Minkowski’s conducting of the Musiciens du Louvre-Grenoble, finding the rhythmic centre of the score, the whole ensemble bright, vivid and dynamic, but with a delicate touch to individual instruments which are picked out beautifully in the sound mix. The single greatest thing about the choice of staging however is indeed the use of a small core of musicians on the stage creating a wonderful connection in their accompaniment of the singers.

The most notable singing here is from Bulgarian mezzo-soprano Vesselina Kasarova as Ruggiero, demonstrating a remarkable range from deep notes to high coloratura seemingly effortlessly. Her delivery and acting can be slightly mannered and even distracting, perhaps on account of playing a male role, but I don’t think the Vienna audience give her the credit she deserves here. Kristina Hammarströmn is a good Bradamante and Anja Harteros fine as Alcina, if a little lacking in character. There are a few off-notes here and there, but her Act II aria “Ah! Mio cor! Schernito sei!” is one of several beautiful Handel compositions here and sung very well. As Oberto, Alois Mühlbacher thankfully adds some variety to the voices and the repetitive romantic declarations and expressions of disappointment in rejection.Drawn out to three and a half-hours, those sentiments can become rather tedious after a while, but while Alcina isn’t the greatest Handel opera and is fairly static and limited in its dramatic situation, its overall construction is carefully considered and it’s worth persevering with for the some wonderful moments and beautiful arrangements that arise out of it as a whole. The staging and performances from the orchestra and the singers all ensure that those qualities come through.

As do the specifications of the Blu-ray from Arthaus. The sumptuous staging is finely detailed and extraordinarily colourful and, other than the use of fades and one lapse of rapid cross-cutting, the filming is fine. The PCM stereo and the DTS HD-Master Audio mixes are impressive. Subtitles are in Italian, English, German, French, Spanish, Japanese and Korean. A twenty-minute behind-the-scenes featurette is included.