For so many reasons,
this is a production to savour. Intense
performances of emotive music in classical
settings: symbolism by the bucket load:
theatrical gestures that make you almost
cry out for joy. Overall it is not perfect
but it is extraordinarily good.
Let me start with the
question of which composition, or refinement,
of the opera this is. By Gluck of 1762
for Vienna or 1774 for Paris; the Berlioz
of 1859 or the Milan of 1884? DVDs provide
little additional information – no booklets
as with CDs. So I turned to the CD recording
of this production (Erato:2292-45864-2)
and Leppard’s notes in the accompanying
booklet: "Broadly I chose whatever
option was better". And by the
time you have finished watching / listening
you will be hard put to disagree – even
if you think or care by then.
To repeat the obvious
from above: Glyndebourne 1982. Thus
the ‘old’ house with its enormously
deep stage of which (now Sir) Peter
Hall makes full and dramatic use. The
action takes place on a pathway or slightly
raised platform running front to back.
A perfect vehicle for long continuous
movement: Euridice walks front to back
in the swirling mists; later she continues
the same journey as she is brought forward
in the Elysian Fields; the portcullis
drops for Orfeo’s encounter with the
Furies; and Orfeo’s journeys. It even
encompasses the final rustic revelry
which pours over into the auditorium
– a bit of a liberty with Gluck and
in my view not particularly well done.
I remind myself that
this production was Dame Janet Baker’s
last public operatic appearance. If
you thought she was good, then, whatever
else you have seen her in, ‘you ain’t
seen nothin’ yet’. This is a quite staggering
performance demonstrating beyond doubt
that despite evidence to the contrary,
in the 1980s there did exist divas who
could act. Her commitment is always
complete.
It would be totally
remiss of me not to quote her own words
about this from her autobiographical
journal Full Circle:
"…only I can
ever know what this desperate journey
of Orfeo’s has done to me; … in
the test of will and discipline
involved in bringing Euridice back
from the dead and obeying the god’s
demand not to look at her, Orfeo
fails. The gods know the fatal weakness
in all of us and choose the very
thing they know we cannot do. Of
course Orfeo fails the test. Of
course everybody does."
If that is not enough
then consider this: Orfeo receives a
lyre from the gods to help tame the
Furies and is commanded to return it
after he and Euridice are finally re-united.
Of the handing back Dame Janet said
in her book:
"The fleeting
thought came to me: Are you really
handing back this symbol of your
art with a pure intention? Are you
truly relinquishing the power you
have been lent? And back came my
answer: ‘I am’. A symbol of an ending…"
With that background
it is a surprise that she had not performed
this role more frequently; so no surprise
that her freshness, emotion and drama
are outstanding. Vocally I think she
is difficult to fault. Whilst her opening
repeated cry of Euridice might not be
as forte as if someone was sawing
through her bone (Gluck direction) she
packs so much anguish into the thrice
repeated cried name that more would
be self-defeating.
This production includes
the full aria at the end of Act I with
coloratura that Dame Janet despatches
so effortlessly that you forget just
how difficult it is. Che puro ciel
is sung with gentleness and wonder;
Che farò senza with heart
rending torment. That unfairly selects
two moments: all is certainty of voice
and dramatic commitment: a truly memorable
performance.
And that ignores many
‘pure theatre’ touches that for me typify
the completeness of detail in this production.
Two examples will suffice: first, having
calmed the Furies she is about to continue
her journey when with the back of her
hand she strokes the quizzical cheek
of one of them. Later, when kneeling
and holding the now dead for the second
time Euridice, she grievingly rocks
gently back and forth.
For me Dame Janet is
perfect in this role. I am somewhat
less enthusiastic about Elisabeth Speiser’s
Euridice. She seems to ‘hold back’.
Would this Euridice provoke her husband
into failing the test and turning to
look at her? That said this is not a
temper-tantrum Euridice but a saddened
wife. She has an occasional slight sharpness
of timbre made more evident by the contrast
with the warm, smooth, honey-toned Dame
Janet. Of course, the inevitable consequential
advantage is that in the duets there
is a quite excellent vocal balance.
Elizabeth Gale’s Amore,
vocally ringing and sharply focused
seems to me to be far too worldly. If
she stepped off her flying pedestal
then you would only know the godly element
from the wings. A far too alluring costume
and performance from a very cheerful
god; but perhaps that is what Amore
should be: a strong contrast with earthly
seriousness and endeavour.
The CD recording of
this production, recorded at Brent Town
Hall in August 1982, is free from sound
interference - all is crystal clear.
However on the DVD, filmed at Glyndebourne
in 1982, there are occasions when the
sound at forte seems to be suddenly
closed down a few decibels and made
almost husky. Also for Amore's entrance
aria the orchestra is just a little
loud thereby obscuring the words.
For the most part the
orchestra is good; very good. The accompaniment
to the Furies, in a visually evocative
scene, is stirring if not frenzied.
The contrast could not be greater with
the orchestral smooth calling back and
forth with superb phrasing about the
delights of the Elysian Fields.
The chorus is outstanding:
of fire, brimstone, aggressive movement
and singing for the Furies; and amazing
slow motion as Elysian Heroes and Heroines;
with the pastoral dances to conclude.
Ignoring the Dame Janet
introduction, which is a bit reminiscent
of 3.00pm on Christmas Day, and the
stuffed-shirt mostly non-DJ-ed audience
at the end (who should have been cheering
and shouting if not leaping up and down),
this is a great DVD. Great performances.
Great theatre.
Robert McKechnie
Glyndebourne Festival Chorus 
DVD
NVC ARTS 5050467-3921-2-0 [124mins]