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Opera News/ Mai 2005 |
HORST KOEGLER |
Monteverdi: L'Incoronazione di Poppea, Zürich 2005
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ZURICH – L’Incoronazione di Poppea, Opernhaus Zürich, 2/18/05
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On February 18, Nikolaus Harnoncourt returned to
Monteverdi´s L’Incoronazione di Poppea in Zurich. When he last staged this
opera here, his collaborator was Jean-Pierre Ponnelle; what they achieved
resembled a Rome inspired by the landscape paintings of Jan Breughel —
Monteverdi´s contemporary and, like him, an ardent advocate of the
chamber-art style of early Baroque. Harnoncourt’s long journey through the
operas of Monteverdi led him to Salzburg, where in 1993 Jürgen Flimm
replaced Ponnelle (who had died in 1988) as Harnoncourt’s director of
choice. The new Harnoncourt/Flimm effort — with designers Annette
Murschetz (sets) and Heide Kastler (costumes) — for Zurich looked like the
fashionable villa of a Bauhaus architect, built on a rotating platform,
which facilitated transitions between the rooms of its two-story floors.
The look of the setting may have changed in the past quarter-century, but
the amoral, lascivious dealings of its inhabitants remained much the same.
These were the citizens of a depraved society that enjoyed its debauches
to the fullest, whether they were in Nero’s Rome, Monteverdi’s seicento or
Fellini’s La Dolce Vita.
Harnoncourt and “La Scintilla,“ a group of specialist players from the
Zurich Orchestra, created a sound world that was ravishigly beautiful:
elegant, sensuous and infinitely refined, this was music-making on the
highest level. This also held true of the conductor’s treatment of voices:
Harnoncourt gave us crystal-clear enunciation of the words by
distinguishing clearly among the three different kinds of declamation: the
recitar cantando (the speaking on tones), the cantar recitando (the
eloquent singing) and the cantare (the legitimate singing). The rather
small Zurich house is ideally suited to these subtle gradings of volume
and sound — which in Ottavia’s “Addio, Roma,“ with its minutely shaped
pauses between words, transport us straight into heaven.
I have been less than enthusiastic about Flimm’s productions recently, but
his new Poppea emerged as a marvel of psychological probing into the souls
of its highstrung characters. They were more human than we ever have seen
them before. Flimm´s treatment of the three allegorical figures in the
prologue as contemporary beings, appearing in different guise throughout
the three acts, strengthened the dramaturgical backbone of the story, but
I was less happy with his notion of casting Amore as a boy soprano, whose
chirping was too feeble compared to the mature voices surrounding him. But
what made Flimm’s production so exemplary was its feeling of lush
sensuality and eroticism — ecstasy, like a virus, took possession of all
of the characters in scenes of bandoned voluptuosness.
A great difference exists bewteen Harnoncourt’s soloists of the 1970s —
familiar from Harnoncourt’s Telefunken recording — and their successors.
Formerly, there were few genuine Italian voices in Harnoncourt’s Rome —
the Swedish Elisabeth Söderström was cast as Nero; the Americans Helen
Donath and Cathy Berberian were Poppea and Ottavia, respectively; the
Britons Paul Esswood and Philip Langridge sang Otho and Lucan. Their heirs
today had an authentic Mediterranean halo about their vocal outpourings.
While everybody felt sorry that Vesselina Kasarova had to cancel her first
night as Poppea (after six weeks of rehearsals), her replacement, the
Colombian Juanita Lascarro, had the necessary sensuousness and physical
charms to make her irresistible. Tall, beautiful and incredibly sexy, this
Poppea was unstoppable on her strictly calculated way to supreme power as
she inflected Monteverdi’s vocal lines with gorgeous, gossamer sweetness.
Her voice perfectly matched with that of her Nero, Jonas Kaufmann, the
slightly metallic timbre of his mellifluous, pliable tenor ideally
reflecting his iron will.
Perhaps the most beautiful voice of all belonged to that of Francesca
Provvisionato, whose luminous, haunting mezzo brought her characterization
of Ottavia to celestial heights in the deposed queen’s infinitely moving
farewell to Rome. Franco Fagioli’s flexible counter-tenor perfectly fitted
the wayward chacracter of the deeply frustrated Ottone, and Laszlo Polgár
held us all in thrall with the skillful ruminations of his Seneca,
splendid and even-scaled in his descent to a resonant low C. The remainder
of the cast provided a rich tapestry of individual vocal timbres, but
there were two character studies of overwhelming spontaneity and musical
power: the high-heeled Arnalta of Jean-Paul Fouchécourt (the tenor who was
the much admired Rameau Platée in the famous French productions under
Minkowski), a lusty source of life, and Rudolf Schasching, who after his
unforgettably gluttunous Iro in Ritorno d´Ulisse, instilled his Lucano
with a similar unquenchable thirst for libation – making his duet with
Nerone after Seneca´s death an orgy of reveling.
However, if there was anybody to be crowned after these three and
one-quarter hours of operatic richness, it should have been Harnoncourt,
the legitimate conqueror of the vast Monteverdian cosmos. |
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