|
|
|
|
The Star-Ledger, February 21, 2014 |
Ronni Reich |
|
Massenet: Werther, Metropolitan Opera, 18. Februar 2014 |
|
'Werther' at the Metropolitan Opera showcases Jonas Kaufmann and Sophie Koch
|
|
As snow flurries whirl, a family gathers closely, mourning the death of a
matriarch. Next, soft-looking pink petals fall as the season shifts to
spring and then volumes of deep green leaves mark the arrival of summer.
And that’s just the overture.
In Richard Eyre’s new production of
Massenet’s "Werther" at the Metropolitan Opera, picturesque projections, an
admirable cast and a precise, impassioned performance by the orchestra make
the most of a work that has understandably not become central to the canon.
Based on Goethe’s novel "The Sorrows of Young Werther," the opera
focuses on a poet in love with a woman who has made a promise to her dying
mother to marry someone else.
The work finds Massenet, who may be
most associated with the ravishing melodies of "Manon," in a near-Wagnerian
mode, with recurring music that signifies the title character’s torment.
Weighty textures, anguished passages and poetic revelations in a romantic
vein dominate the score; it receives a rich, cohesive rendering here, with
heartfelt, meticulous solos showcasing the skill of the Met orchestra, led
by Alain Altinoglu.
Due to the efforts of Eyre, working in
collaboration with set and costume designer Rob Howell and video designer
Wedall K. Harrington, the bleak story is also eye-catching. Naturalistic
details of the house where Charlotte lives with her family get a surreal
touch from frames that are sometimes tilted at an angle, as though something
were amiss or part of a dream.
The video projections provide
painterly portraits of the changes of season and immerse the audience in
Charlotte’s journey as she tries to run to Werther for the last time. The
elaborate approach is traditional with a technological twist — not so far
from the Zeffirelli productions sometimes cited as symbols of the "old Met."
The title role suits the artistry of tenor Jonas Kaufmann, who has
become a go-to for major roles across the spectrum. He uses his musicality
and sensitivity to dynamics to lovely effect, singing of nature in the first
act and crooning delicately into Charlotte’s ear.
His dark, viscous,
caramel-like sound doesn’t always slice easily through the thick
orchestrations, but in his Act III aria "Pourquoi me réveiller," it soars
thrillingly.
Sophie Koch makes a stunning house debut as Charlotte
with an impassioned performance of the aria "Va! laisse couler mes larmes."
Her mezzo-soprano can take on a powerful, cutting quality in a moment of
searing pain, yet in her early, carefree exchanges with her family and
Werther, it has a berry-toned, sugary freshness.
Soprano Lisette
Oropesa is perfectly cast as Charlotte’s sister Sophie. Singing of flower
bouquets and happiness, the character is nearly the sole ray of sunshine in
the piece, and Oropesa’s sweet, agile soprano is one as well.
With
his deep, sturdy bass and imposing presence, David Bizic, also in his Met
debut, provides an effective contrast to Werther as the soldier Albert, who
becomes Charlotte’s husband. The small ensemble of children who sing an
important Christmas carol does a fine job.
Eyre’s staging is largely
lifelike, with Charlotte bristling subtly at Albert’s presence and Sophie
sidling up flirtatiously to Werther. It is only the title character (who has
scenes in which he freezes with a hand to his face) who can seem
overwrought, but that may be inevitable.
"Werther" is the final new
production of the season, and it is consistent with others that have not
been overly dependent on novelty but have succeeded largely on the basis of
the quality of the artists involved.
|
|
|
|
|
|