As I am going again in two weeks, I will write only a 'hit-and-run' report. It's a massive opera, in its five Acts it's Wagnerian in length, although, sadly, without the Wagnerian supper interval.
Caveat: I was in row M of Amphi, too far away to be entirely satisfied
An opera full of glorious music from start to finish, a complex story involving personal relationships in a (quasi-) historical and political context.
I hated the production. Turgid and static, Met trash in a deceptive set. Oh, by the way, most of these comments don't apply to the "What a Day for an Auto da fé" scene.
The set was always dark. Too dark merely to give a noir mood. Just dark. Admittedly, I was more aware of the failings of the lighting having had someone (a reader) explain to me a few shortcomings in other productions. However, just to give one example, when Eboli started to park-and-bark sing 'O Don Fatale' (one of the great mezzo arias, one of the big 'numbers' of the work) she started off standing in the spotlight, raising the arm that signals despair, before clenching both fists, and going to sit down at the table to signify utter despair. Her former parking-space remained lit; her new sitting place was in complete darkness.
There was very little movement on stage at all. When there was movement, I presume it had been introduced by the singers themselves, in contradiction of the director rather than by instruction. A production built for singers such as Rolando Villazón and Simon Keenlyside should have had far more movement; they are both agile around stage and natural movers.
Actually, I lie: at various times in the production, various characters ran off or on stage. The chorus was blocked horrendously. Particularly noticeable when the Ladies were in the Queen's Garden and Eboli was entertaining with the Saracen Song. A lot of it was AmDram style. Particularly farcical was the scene just as Posa is killed and they realise there is a riot outside. Just before the back scrim rises to reveal the riotous mob, the line of soldiers do the campest most hilariously inappropriate dance. Oh dear.
The hype leading up has made a big deal of how it was set in the actual time it was set, 16th Century, so I wondered why the King (Philip II) was initially dressed as a 17th century Puritan. And why the Queen's Garden was in front of a wall straight out of a 1970s Habitat catalogue.
Most of the time I detested what was basically a concert performance in costume with cheap sets (mainly scrims).
But then, bizarrely, Act II scene ii, the auto da fé was Zefferelli-like in its vulgarity (although, perversely, I liked it), with its Cecil B de Mille cast of thousands, its overacting chorus/crowd of revolting peasants and its bright colours. Being high up in the theatre, I didn't see Vallodolid cathedral in all its glory,which is regrettable, but I don't think removed anything from the action.
Plenty of photos at Arena Pal
The costumes were as unremittingly dull as the production, the highlight being - and I am shocked that nobody else has picked up on this - Eric Halfvarson as the Grand Inquisitor made up to look like Joseph Ratzinger - who of course held this job immediately before becoming Pope. Oh, the biting satire (completely out of place in such a lame production).
The singers were variable. Much as I love Rolando, I was disappointed, particularly in the first two acts. It must be a nightmare role where the most important aria of the entire opera is right at the beginning, (when that man in row N, on the aisle is still actually talking to his wife) but, bluntly he didn't seem the Rolando I know and love from Hoffmann, Rigoletto and Eugene Onegin, and numerous recordings, live and studio. As the night progressed so did his vocal condition. I think the critics who are saying his career is over are wrong, but I don't think that this is really an ideal role for him. Such a beautiful voice in lyrical roles; please don't go the José Carreras/Roberto Alagna route of ruining a gorgeous instrument by choosing the wrong roles.
I found his acting subdued, as was Simon Keenlyside's. I blame the director, because they are so suitable for serious stage work. Simon sounded fabulous, probably the best I have heard him (on form in an opera I love). Rolando at least got over to me that Carlo was adolescent and stunted in his emotions, whereas Simon, I am afraid, conveyed merely that Posa was a gorgeous singer who winced when he was dying of being shot.
Marina Poplavskaya once again showed her vocal potential as Elizabetta. She is far from the finished article and I find her a bit wooden in her acting, but she is gorgeous vocally and physically.
Ferruccio Furlanetto was outstanding as Philip II. Extraordinary that me, not a bass-fancier by any stretch, has managed to be well impressed by two of them this summer! He managed to convey such dignity as the king.
I didn't mind Sonia Ganassi as Eboli, although she was nothing special. Particularly not in the acting which was 'emote by semaphore'.
Luxury casting for Eric Halfvarson as the Grand Inquisitor, and Robert Lloyd as the Monk/Charles V HRE. Also hon mensh to Anita Watson (Voice of Heaven) and Pumeza Matshikiza (Tebaldo), both of them Jette Parker Young Artists.
Tony Pappano waved the stick. A lot of critics have singled out the conductor and orchestra for multi-star rating, but, to be honest, they never fully set me on fire, even though the playing was always beautiful.
I did enjoy it, because it managed to be greater than the sum of its parts,and I am looking forward to seeing it again in a fortnight. I wonder if I will like the production any better then!
