SEEN AND HEARD INTERNATIONAL

Production from Dresden Semperoper. 

Direction: Uwe Eric Laufenberg.

Sets: Christoph Schubiger.

Costumes: Jessica Karge.

Lighting: Jan Seeger.

Cast:

 Octavian: Sophie Koch.

Marschallin: Martina Serafin.

Ochs: Peter Rose.

Sophie: Ofelia Sala.

Faninal: Franz Grundheber.

A singer: José Bros.

Marianne: Amanda Mace.

Annina: Julia Juon.

Valzacchi: Francisco Vas.

Police Officer: Alessandro Guerzoni.

Marschallin’s Majordomo/Innkeeper: Roger Padullés.

Faninal’s Majordomo: Josep Fadó.

Notary: Marc Pujol

  

This true masterwork by Richard Strauss returns to Barcelona’s Liceu after 25 years of absence. I have always confessed my admiration for this opera and I cannot but express my surprise at such a long absence; I hope it will not be a further 25 years before it is seen and heard once more on the stage of the Liceu.

 

The production now presented by the Liceu originated in Dresden, where I have had the opportunity to see it previously. Uwe Eric Laufenberg has moved the action to the 1960s and the results of such a move are only half convincing. We get a traditional first act with some good moments, especially the two scenes of Octavian and Marschallin, and the scene of the tradesmen, at the Marschallin’s levee. There’s a good second act, with Faninal’s mansion transformed to a skyscraper with a large window, and a reception for the Rosenkavalier with numerous photographers present. Annina and Valzacchi are modern paparazzi taking pictures from outside, while ostensibly cleaning the windows. The central scene, of the presentation of the rose, was lacking in life and charm. The last act was the weakest of the opera, with little humour and no sense of surprise. Ultimately this is a production in which one’s interest fades, as it moves from a promising beginning to a routine ending.

 

The musical direction was entrusted to Michael Boder, currently the Liceu’s Musical Director; his reading was good, but not fully convincing. His conducting alternated inspired and genuinely melancholic moments with others that were merely routine. The first half of Act I was musically rather disappointing, though things improved significantly at the monologue of the Marschallin. Act II achieved a more consistent level of quality, although the presentation of the rose was a little short of emotion. The third act was again predominantly rather routine, especially in the first half, although Mr. Boder improved a lot in the last 15 minutes. The Orchestra of the Liceu played well enough, although it was hard not to feel that that this opera deserves something better and brighter in a top opera house, such as the Liceu is and should aim to be.

 

My consideration of the cast of an opera normally begins with the protagonist of the work or the eponymous character. In this case I will make an exception and begin with what I regard as the most interesting character that this opera offers: the Marschallin. The Marschallin was sung by Austrian soprano Martina Serafin, who I saw in this same role two years ago in Toulouse. This is what I wrote then and I am happy to repeat it now: “Austrian soprano Martina Serafin was one of the most convincing Marschallins I have seen for many years. Her interpretation was full of nuances, both singing and (rara avis) keeping silent. Hers is a Marschallin full of elegance, class and melancholy. She has a very suitable appearance for the role and she is today one the very  best in it. Are there more beautiful voices than hers? Sure! Do I enjoy a more round high register? Of course! But her way of singing is magnificent, and her monologue, difficult to better. She was the Marschallin from beginning to end, including her final bows, full of charm  and elegance”. Hers is one of the very best Marschallins around, although her top register is tighter than two years ago.

 

Count Ocatavian was once again French mezzo Sophie Koch, who is one of the singers more frequently to be heard in this character. She knows the part perfectly and she is a very convincing stage performer. Vocally, she is a good Octavian, but I have never found her an outstanding interpreter of the character. Baron Ochs was British bass Peter Rose, a good actor and singer, though he lacks that amplitude in vocal means which would sustain a comparison with the great performers of the character in recent years. He offered a funny and well sung characterisation, his weakest point being in the bottom notes, particularly in the first two acts.

 

Ofelia Sala was a good Sophie, although she is rather badly suited to the role in terms of the stage. Of the three main female roles which have to be cast in Rosenkavalier, Sophie is the easiest one, since light and young sopranos are not scarce. It is, therefore, surprising that the choice of the Liceu choice has fallen on Sala. Vocally she performed well, although there were some top notes in Act II which were on the boundaries of the scream. Veteran baritone Franz Grundheber was an excellent Faninal, showing a healthy voice in spite of his age. It is quite common to offer this character to a veteran in decline, but Mr. Grundheber is much better than most of his colleagues. Jose Bros was a disappointment as the Italian tenor. He offered clear signs of vocal fatigue at the high notes and he did not seem to be comfortable in the role.

 

The numerous secondary characters were generally well cast. American soprano Amanda Mace was a good Marianne, more appropriately cast than in her Eva in Bayreuth a few years back. Julia Juon was a good Annina, while Francisco Vas had too small a voice to be a satisfactory Valzacchi. Alessandro Guerzoni was a sonorous (and rather coarse) police officer.

 

I was present at the first of seven scheduled performances. There were a few empty seats. The performers received a warm closing ovation. There were cheers for Martina Serafin, Peter Rose and Sophie Koch, in that order. Michael Boder was applauded without any great enthusiasm, as were the creative team.

 

José M Irurzun