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Bachtrack, 23 novembre 2019 |
Par Matthew Rye |
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Korngold: Die tote Stadt, Bayerische Staatsoper, ab 18. November 2019 |
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It was all a dream: an absorbing production of Korngold's Die tote Stadt in Munich
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Ausschnitt: .... The tenor role of Paul is one of the most punishing
in the repertoire, particularly high-lying, often histrionic in its force
and as demanding as Siegfried but squeezed into an opera half the length of
Wagner's eponymous work. In Jonas Kaufmann it has met its match: his stamina
never lets up, he throws his all into the character and rattles off reams of
mellifluous tone without the crooning that can sometimes dog his singing. No
less a contribution was made by Marlis Petersen. Her voice may be on a more
refined scale, but my goodness she can launch herself into a role,
channelling Salome and Lulu into the taunting, lascivious Marietta of Paul's
imagination. Birgitta perhaps lies a little high for Jennifer Johnston, but
her communicativeness and velvety tone were much in evidence; Andrzej
Filonczyk's double act as Frank and Franz was neatly drawn, with a beguiling
Pierrot's Lied at its heart: and Mirjam Mesak (Juliette), Corinna Scheurle
(Lucienne), Manuel Günther (Gaston/Victorian) and Dean Power (Graf Albert)
made up the rest of the dance troupe, singing and acting with panache.
To cap it all, the Bayerisches Staatsorchester's playing was
incandescent. Kirill Petrenko, conducting his penultimate new production as
the BSO's out-going general music director, was clearly loving every minute,
coaxing sounds from Korngold's opulent, searing score that were both
sumptuous and crystalline. True, his slow tempo for the return of “Glück,
das mir verblieb” at the very end of the opera caught Kaufmann out briefly,
but in general the pacing and the sheer generosity of the music-making were
both impressive and emotionally satiating.
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