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The Opera Critic |
by Moore Parker |
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Bizét: Carmen, Salzburger Festspiele, 14. August 2012 |
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This Carmen is not the thrilling experience it should be
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Already spurned at the Salzburg Easter Festival, this Carmen revival (albeit
with the Vienna Philharmonic replacing the Berlin Philharmonic in the pit)
seemed destined for dubious success, despite some notable assets.
The
title role is notoriously elusive - even for apparent "models" in the role,
and in which category Magdalena Kozena does not naturally belong. Even if
one is prepared to reconsider the psyche of the part, reworked within the
context of this updated production (to the Spanish Civil War) - and embrace
this cool, nonchalant (though physically not unattractive) lead, the sheer
chasm between Ms. Kozena's vocal facility and the combined demands of the
score and this venue remains unbridgeable.
As Don Jose, Jonas
Kaufmann brings the technique and finesse of a German Lieder singer to his
portrayal. He presents a virtually seamless mix of registers and dynamics
throughout his vocal range, a masculine and full-bodied tone which carries
easily to all corners of the house, and an attractive stage presence which
wins through his rather brooding and introvert interpretation. He finishes
his "Flower song" with a sustained pianissimo B-flat, and brings a
controlled passion to his dramatic outbursts. While his rather gutteral
vocal approach may not universally appeal, there's no denying that this Jose
probably ranks supreme among today's interpreters.
I had
greater expectations from the delightful Genia Kühmeier, who - despite
possessing the innocent charm for Micaela - lacks the appropriate vocal
weight and warmth for the role. Above the stave her timbre pinches and tends
to (over) sharpen in pitch rather than blossom into the lyrical cascade of
tone ideally needed to let the line - and character - take flight. Seldom
has one seen a Micaela made so unattractive by the costume and hair styling
departments - so credit to Ms. Kühmeier for nevertheless winning so many
hearts in the house.
Kostas Smoriginas (Escamillo) suffered an
"allergic reaction" at the premier of this run, and at this second night
performance was announced as therefore being "nervous". In keeping with the
title role in this opera, Escamillo sadly enjoys few interpreters in
possession of all the necessary attributes to bring the role to life. Alas,
Smoriginas' performance rarely raises its head above the average, remaining
somewhat vocally uneven and missing the required flair needed to sweep the
audience - and not just his Carmen - off its feet.
Christina
Landshamer (Frasquita), Rachel Frenkel (Mercedes), Simone del Savio
(Duncaire) and Jean-Paul Fouchecourt (Remendado) all left an unusually weak
impression - crowned by a particularly lacklustre quintet with Carmen in Act
2. Christian van Horn, however, was a solid Zuniga and Andre Schuen
presented an unusully strong Morales.
Also, there was a virile (and
welcome) contribution by the Konzertvereinigung Wiener Staatsopernchor.
Aletta Collins is responsible for the direction and choreography - the
latter playing an on-going and effective Leitmotiv throughout the production
- setting the scene before the first bars of music begin, and later nicely
linking Act 1 with the Lillas Pastia scene by using identical choreography
(but different costumes) to bridge a brief image of Don Jose behind prison
bars. Dancers support Carmen's seductive moments in Act 2, and in the
opera's finale swollen-headed toreadors parade proudly before their admiring
audience outside the arena. The smugglers scene is less winning, with the
action awkwardly shifting (via an adjoining ladder) between ground level and
an underground tunnel. Irritating; the intrusive action of delivery boys
shifting cases of cigarettes while Jose and Michaela attempt to hold the
audience's attention in their Act 1 duet. Rather fun, on the other hand; the
box office gag to open Act 3 - despite no ticket sales, and apparent free
entry for all to the bullfight.
So in all, an evening boasting some
interesting ideas on stage and some sensitive ones in the pit (Sir Simon
Rattle) - but nevertheless one somewhat tenebrous in concept and bereft of
the thrilling experience this popular war horse can provide, even in less
illustrious settings.
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