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Latinos Post, Mar 02, 2014 |
By David Salazar |
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Massenet: Werther, Metropolitan Opera, 28. Februar 2014 |
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Pure Genius from Jonas Kaufmann, Sophie Koch, Cast & Production in Revival of Massenet's Masterpiece
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Ausschnitt: |
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Transcendent Genius. Those are among the best words to describe what
transpired on the Metropolitan Opera stage of Friday Feb. 28. From the stage
production to the cast members, to orchestra, to even the audience members,
the performance of Massenet's masterpiece "Werther" was a communal
experience of visceral intensity and immediacy. ................ The
production, while filled with some truly brilliant touches, relies heavily
on the work of its performers. And this cast delivers in stunning fashion.
Leading the way as the opera's eponymous character is German tenor Jonas
Kaufmann, arguably the most well-known tenor in the world at the present
moment (with the exception of Placido Domingo). Kaufmann has given Met
audiences a plethora of performances throughout the years always filled with
supreme intelligence, intensity and superb technical precision; he is the
consummate artist that not only sets the bar exceedingly high, but always
reaches and surpasses it. His Werther might actually his most powerful
performance yet at the renowned opera house as he manages to not only inject
the character with the expected emotional intensity, but also gives Werther
the nuance and subtlety to make him more than a raving lunatic. In other
hands, the character comes off as rather unsympathetic and borderline
frustrating for the viewer, even despite Massenet's gorgeous score. But
Kaufmann allows the viewer to see the emotional process that makes Werther
move from a timid man to a tormented soul that has no other way out but
suicide; there is not one single moment that this writer could perceive in
which Kaufmann was not completely committed to the character. In many
instances, the moments in which he remained quiet were as effective, or even
more effective, that those when he was singing.
Kaufmann's first
appearance was an arresting one. Werther moved about the stage marveling at
his surroundings, constantly searching in wonder; there was a certain
child-like quality and innocence that immediately won over the viewer.
Kaufmann's singing in the gorgeous "O Nature" gave a rather unique
psychological portrait of the character that he would develop throughout the
remainder of the performance. He started off with reverential tenderness in
his phrasing. The voice slowly climbed in intensity until it reached the
apex at the word "Soleil" but almost immediately pulled back to a more
hushed quality; a restrained phrasing that actually permeated much
Kaufmann's performance of the work and suggested the intense battle within
Werther. The refined and elegant singing during the "Mysterieux silence"
passage ennobled Werther and the unbridled and heroic intensity of
Kaufmann's execution of the climactic B flat established the character as a
man of formidable strength and depth. Right after he ended the aria, Werther
pulled out his notebook in a rather frantic manner and started writing. The
moment that Charlotte entered the stage, Kaufmann's Werther ran to the
corner of stage right and hid himself from view; the fear, anxiety and even
awkwardness all came to the fore. There was innocence to the moment but the
viewer could not help but feel that there was something off about Werther's
decision to hide. His first interactions with Charlotte were dominated by
awkwardness; at one moment the character nervously bowed before her and even
failed to kiss her hand in the salutary manner that was expected. Throughout
the remainder of this scene, Werther stared at Charlotte incessantly. The
nervousness continued in the ensuing ball scene. As the other couples danced
about, Charlotte and Werther stood still in the middle of the room. In this
brief moment, Kaufmann expressed his tentative feelings and his own seeming
lack of self-confidence. In just a matter of seconds, the internal battle of
the character asking himself "should I or shouldn't I" manifested itself in
Kaufmann's stare at Charlotte until suddenly he stretched his hand out to
dance with her. One almost expected the ensuing dance to be filled with
awkwardness, but the elegance of execution between the two only revealed
that Werther is far more refined that even he seemed to think. The final
scene of the act, which showcases Werther's confession of love was one of
the most powerfully executed of the night. Charlotte spends most of her time
explaining to Werther how she came to take over the family while he marvels
over her. In this production the two characters actually seem to be in their
own worlds; Charlotte moved about the stage reflecting on her situation
while Werther simply followed her around with his eyes; at times one
wondered if he was actually listening to her and whether she was actually
talking to him or two herself. These choices actually emphasized the lack of
comfort the characters felt around one another and emphasized Werther's
longing. When Werther finally declared his love, Kaufmann's voice burst out
with unrelenting vigor and intensity.
From his first entrance in Act
2 it was clear that the hero was no more. Kaufmann's face betrayed anguish
and remorse; the craze that was to come was already starting to consume the
character. His delivery of "J'aurais sur ma poitrine," started off softly,
almost as if Werther were weeping meekly; however as the music drew closer
to the climax, the tenor made a gradual crescendo that eventually
transformed into a pained cry as Werther stated "Tout mon corps en
frissonne;" the voice rose above the ever-present orchestra effortlessly.
Immediately after, Werther sat on the bench hunched over and covering his
face; he did not budge. During the ensuing scene with Albert, Kaufmann moved
away from his rival, his face and body trying hard to hide his guilt. The
singing remained restrained during this section, emphasizing the music's
ebbs and flows that describe Werther's inner battle to temper his
ever-explosive passions. One could sense the pain that reciting words of
loyalty caused for Werther; the phrases melted gloriously one after another.
As he sang the phrase "Mon Coeur ne souffre plus de son reve oubliee," he
made a sublime diminuendo as his voice rose for the "souffre;" that word
seemed to hang momentarily, emphasizing its importance to Werther. Kaufmann
made similarly breathtaking gestures at the end of the passage on the words
"ma part" et "Bonheur." During the confrontation with Charlotte at the end
of this scene, Kaufmann allowed Werther's passion to come to the fore and
his delivery of his monologue "Lorsque l'enfant revient d'un voyage avant
l'heure" was full of desperate longing. The opening lines of this monologue
were sung almost sotto voce that almost reminded the viewer and listener of
the character's child-like innocence of Act 1. As the emotional storm built
throughout the passage Kaufmann's voice seemed to find renewed strength,
expressing Werther's coming to terms with the possibility of death. The
climactic "Appelle-moi" mixed Werther's pain and desperation with a sense of
assertion; the subsequent repetitions of "appelle-moi" were more like sobs.
One final moment worthy of note came right at the end of the act when Sophie
asks Werther whether he will return. He responds with "Non! Jamais! Adieu,"
the "adieu" delivered with a high note. Kaufmann delivered that punctuating
note as if he were shouting at Sophie, confirming the character's continued
descent into madness.
Werther's appearance in the middle of Act 3 was
one of the most finely executed moments of the production. Werther burst
through the doors upstage and stood there fixed, his faced completely pale.
For a few moments there was tremendous tension as he stood there like a
rock, almost the ominous image of death itself. Charlotte, who saton the
floor on stage right, looked over at him momentarily but immediately
diverted her stare in fear. Kaufmann's Werther moved around rather stoically
at the start of these scenes, but as it developed the viewer saw that this
man's passion has turned into madness. The famous "Pourquoi me reveille"
mirrored this development. The first stanza of the aria was sung with a
rather hushed voice; the desperation only coming through on the climactic A
sharp at the end. The final phrase of that first strophe was sung quietly
and the word "printemps" melted away sublimely into nothingness. The second
time this phrase came around, Kaufmann sang it forte and the "printemps" was
held on a lengthy formata. The audience responded with well-deserved
euphoric applause. During the ensuing scene with Charlotte, the madman
completely took over. Werther threw himself at Charlotte, his repeated
utterances of "Tu m'aime" becoming increasingly emphatic; the final one,
delivered on a thrilling high note, was given a vicious accent that was
followed by Werther literally leaping on Charlotte. The viewer could not
help but wonder whether he was going to rape her or not. When she escaped
his grasp, he ran after her and even pulled her to the coach and tried to
force a kiss from her.
The entire interlude between Act 3 and 4
featured a rather lengthy internal monologue for Werther. Kaufmann readied
the pistol and prepared to shoot himself in the head. However, he slowly
resisted the idea and put the pistol down. He moved about the room, pondered
on the subject and eventually, when he seemed to have gained the required
strength, he grabbed the pistol and shot himself in the chest. This was one
example of how some of Kaufmann's finest moments came from his physicality;
the viewer could see the internal conflict without the need for one
utterance from the actor. The final act was quite riveting as Kaufmann,
mainly lying on the floor, managed to create a truly realistic and visceral
portrayal of a dying man. His voice, almost sotto voce the entire time, had
a disembodied quality to it that emphasized the character's state. In some
moments, there was a delicate balance between singing and actually speaking,
adding to the visceral realism of the moment. Near the end of the work,
Werther seemingly comes back to life for a brief moment; Kaufmann slowly
stood up and sang with potency and assuredness. The viewer could not be
faulted for actually thinking that Werther might actually live after all.
The ensuing loss of strength and slow death was truly painful to bear.
Hopefully from this lengthy description, the reader can get a sense of
the nuance and intelligence Kaufmann brought to the iconic character. But
even that description falls short of actually experiencing Kaufmann's genius
in person. ................. The Met Opera's new "Werther" is easily
one of the most fulfilling artistic experiences that this writer has ever
attended. Every detail was delivered with utmost intelligence, polish and
passion and it is impossible not to be utterly transfixed by it. The 2013-14
season has featured a plethora of operatic highlights, but the revival of
Massenet's masterpiece may be the best of them all.
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