Everything about this
production proclaims quality. The cast,
orchestra and conductor are all beyond
reproach. Collectively they bring a
wealth of experience and affection to
Mozart’s eternal masterpiece.
I could end there,
and you would have sufficient reason
to invest in one of the greatest Mozart
opera films ever made. But stay a while
– for it takes a while consciously to
absorb just how right this production
is, not just in the broad sweep, but
also in the details. A few days after
watching this, I turned to Vittorio
Gui’s classic Glyndebourne account (EMI
Classics for Pleasure CD-CFPD 4724),
an amazing bargain-priced recording
every Mozart lover should own. Not wishing
to say I found things missing from Gui’s
account, rather I found extra facets
of characterisation in the Böhm,
and largely because of the visual interaction
on-screen.
As was the case during
the era in which this production was
made, filming took place separately
from the audio recording, with the cast
miming to the final edited version of
the tape. The audio dates from December
1975, the film was shot at Shepperton
Studios some seven months later. Those
that know other productions made in
this way (the Böhm Salome
with Teresa Stratas springs to mind)
will know that any tiny imperfections
are greatly outweighed by the musicality
of the whole. Both sound and visuals
are in a crisp state, and wear their
age lightly.
Fischer-Dieskau’s Count
plays all with an observant eye, truly
master of his household in more ways
than one. He steers that fine line between
aristocrat and philanderer, superbly
acted, with words telling as only they
can from the lieder singer sans pareil.
As his wife, Kiri Te Kanawa gives one
of her most touching portrayals, luxuriantly
voiced and absolutely believable.
Likewise the pairing
of Hermann Prey and Mirella Freni as
Figaro and Susanna provides a wonderful
reminder of two treasured artists captured
in their prime. Watching them, I could
think of no other assumption of these
roles, vocally or in terms of acted
performance. Pure delight! And what
a masterclass of interaction: more outward
maybe than Fischer-Dieskau and Te Kanawa
– but a perfect foil, illustrating contrasting
circles of society. Cherubino in the
hands of a young Maria Ewing is fully
hot-headed and emotional.
Under Böhm the
Vienna Philharmonic play like angels;
affection and vitality in every bar.
But then the Maestro would not have
expected otherwise. I don’t know how
many times they played this score -
between them a fair few times - but
it feels like the first. Jean-Pierre
Ponnelle’s production might be roundly
termed traditional - he mercifully tries
no interpretation that is outside what
is inherent in the libretto and score
– and in doing so he allows a crumbling
ancien régime to be adroitly
captured.
The presentation serves
the purpose, with two acts to a DVD,
copious cueing points and documentation
including a synopsis and a short interview
with Jean-Pierre Ponnelle about making
films of opera.
If you are not convinced
now, the chances are you may never be.
For my part, I would not want to be
without it. It really is that simple.
Evan Dickerson
Latest
releases from Unitel
Vienna Philharmonic Orchestra/Karl Böhm
DEUTSCHE GRAMMOPHON UNITEL 00440 073 4034 [2
DVDs: 181:00]
