SEEN AND HEARD INTERNATIONAL

R. Liebermann, Die Schule der Frauen : Soloists, Orchestre Bordeaux-Aquitaine. Conductor: Jurjen Hempel. Grand Théâtre de Bordeaux. 26.11.2010 (JMI)

New production

Direction: Eric Genovese.

Sets: Jacques Gabel and Claire Sternberg.

Costumes: Luisa Spinatelli.

Lighting: Olivier Tessier.

Cast:

Arnolphe: Andrew Greenan.

Agnes: Daphne Touchais.

Horace: Michael Smallwood.

Poquelin, Alain,Henry: Paul Gay.

Georgette: Sophie Pondjiclis.

Oronte: Jacques Schwarz.

Production Picture © Frederic Desmesure
 

If he had lived a while longer, the multifaceted Swiss artist Rolf Liebermann would have had his centenary this year. The anniversary has not gone unnoticed in France and the homage that Nicolas Joel paid Liebermann in Paris, reviving his famous production of Le Nozze di Figaro, has been joined by Bordeaux with the French premiere of Die Schule der Frauen, one of the six operas that Liebermann actually composed.

Rolf Liebermann was born in Zurich in 1910, and died in Paris in 1999. He was a musician, who combined his activity as composer with a career as a an orchestral conductor, but he is perhaps best known for his work as a theatre director. From 1959 to 1972 he was Director of the Hamburg Opera, which became a genuine avant-garde stage showcase during Liebermann’s years there as well as one of the most prestigious opera houses in the world. In 1973, at the initiative of President Pompidou, who wanted Paris Opera to recover its former historical prestige, Liebermann took on responsibility for the company and by the end of his term there in 1980 had indeed restored its importance as reference point in the operatic world.

Although Liebermann was best known as a theatre director he was also an important composer, whose output included the operas, numerous cantatas, instrumental sonatas and even concerti for violin and piano with orchestra.

Given the importance of Rolf Liebermann to Paris Opera, nothing seems more natural the management of house paying tribute to Mr. Liebermann’s memory in his centenary year, but it is also significant that Bordeaux also joined in with a performance of one of his own operas. The explanation for this is the presence of Mr. Thierry Fouquet as Director of the Opera of Bordeaux: he was a member of a small group who collaborated with Mr. Liebermann at Paris Opera, as was Gerard Mortier also. Mr. Fouquet’s time with Rolf Liebermann made him a real admirer of the great man’s work, and as part of the centenial celebrations he initially wanted to stage Liebermann’s last opera, Medée, which premiered in Hamburg in 1995. Sadly, the orchestral requirements for Medée couldn’t be managed in Bordeaux’s small theatre pit, hence the choice of the Liebermann’s opera buffa Die Schule der Frauen or The School for Wives, which is based on Molière’s play L'École des Femmes.

The opera had its premiere with the title The School for Wives in Louisville, Kentucky in 1955 as a one act work but was later extensively revised and translated into a final German version in three acts. This premiered at the Salzburg Festival in 1957, and despite appearing subsequently in several of Europe’s main opera houses it was forgotten in the 1960s. For anyone interested, a recording of the Salzburge premiere conducted by George Szell and with Annelise Rothenberger, Walter Berry, and Nicolai Gedda in the prncipal roles is still available.

Die Schule der Frauen is an opera buffa, about a rich man Arnolphe who adopts a young girl, and confines her in his house, with the idea that she will later become his wife and hoping that her isolation will guarantee that she won’t betray him with another man. But inevitably since this is opera buffa, the girl Agnes meets and falls in love with Horace, the son of Arnolphe’s best friend – shade of both Rossini’s Barbiere and Donizetti's Don Pasquale. But here there is a twist : an extra character, none other than Molière himself, as thr real deus ex machina of the comedy rather like Don Alfonso in Cosí Fan Tutte. Molière, or rather the actor Poquelin, takes on various forms, sometimes assuming the character of the servant Alain but finally appearing as Henry who turns up from America, and declares himself to be Agnes’s real father. Naturally, he wants Agnes to marry her be her beloved Horace.

The libretto is quite fresh and fast moving and while Liebermann’s music isn’t exactly a masterpiece, it is certainly the work of an expert composer who knows how to write for singers. Each of the three main characters has one aria or rather arioso, all opportunities to shine and there also other truly interesting elements, such as the quintet of the third Act, and the final moral, which is sang in French by all the characters involved in the opera. I found the whole thing enjoyable, easy to listen to, and with some moments of real quality. Mr. Fouquet is to be congratulated for giving us the opportunity to see this interesting and amusing piece.

The stage production was by Eric Genovese, who offered a fun –filled colourful and very appropriate production. The sets are very simple, with a small house rotating house centre stage, providing different views of the interior, while outside we see green paths along which some characters can ride bicycles. Genovese moves the action to the 1950s, only except for the character of Molière, or rather the Poquelin who plays character. Costumes are well done and also colourful, especially for Horace and Henry in their last appearances Genovese stage direction by is good too, though he might have been better off with a cast better suited to opera buffa.

Musical direction was entrusted to the Dutch conductor, Jurjen Hempel, making his debut in Grand Thèâtre’s pit, although he has conducted the Bordeaux orchestra several times in the past. Despite the difficulties of judging a conductor’s work in a completely unknown opera, I formed a very positive impression of what seemed to be a well controlled performance. Mr Hempel drew a good performance from the orchestra, with excellent control of volume, an important aspect, considering the singers on stage. Perhaps, there was a certain lack of comic spark here and there, since this was opera buffa, but then again that’s probably a quibble too far.

The singing was the weakest point of this performance. I acknowledge that it isn’t always easy to achieve good even casting for a new opera and with limited economic resources, but even so there were some definite weaknesses here.

Agnes is a part written for a light soprano with good high notes and excellent coloratura. It might be considered a soubrette role, but I rather think that a better description would be to compare it to Norina or a Rosina written for a soprano. It was nicely sung by Daphne Touchais, who gave a good performance, perfectly adequate for the demands of the score, although her voice is rather small in size. That’s not a handicap in a small theatre like Bordeaux as it happens but in a larger house the role would be perfect for somebody like Diana Damrau.

British bass Andrew Greenan was Arnolphe, a role comparable, even vocally, with Don Bartolo or Don Pasquale. It’s a basso buffo parft and Mr Greenan is unfortunalely not that. Arnolphe seems to me a perfect role for somebody like Carlos Chausson today, or Ruggero Raimondi in the past.

Horace requires a light tenor with a excellent high register and good line to his singing, for a big aria which is not too easy. Here we had the Australian tenor Michael Smallwood, who offered too small a voice, with rather too much white tone at the top. The role could be a perfect part for tenors such as Pavol Breslik or Ismael Jordi.

The character of the actor Poquelin ; who is responsible for giving life to Moliére, as well as playing the characters of the servant Alain and Agnes’s American father Henry in the final act. This is a character for a bass-baritone, who must also be a good actor. Paul Gay was very good in all of his different characterisations and only some of his high notes were rather too tight

This was the French premiere of an interesting opera and the theatre was full, despite the miserable weather outside. The final reception was decently warm, with applause for all the artists, including the musical director and the creative team.

José M Irurzun