SEEN AND HEARD INTERNATIONAL

R. Strauss, Daphne: Soloists, Frankfurter Opern und Museumorchester,  Cor der Oper Frankfurt, Conductor: Sebastian Weigle, Oper Frankfurt. 10.4.2010. (JMI)

New Production.

Director: Claus Guth.

Sets and Costumes: Christian Schmidt.

Lighting: Olaf Winter.

Cast:

Daphne: Maria Bengtsson.

Apollo: Lance Ryan.

Leukippos: Daniel Behle.

Peneios: Matthew Best.

Gaea: Tanja Ariane Baumgartner

Shepherds: Dietrich Volle, Julian Pregardien, Franz Mayer and

Sungkon Kim.

Maids: Christiane Karg and Nina Tarandek.

 

Maria Bengtsson as Daphne -  Picture © Barbara Aumüller

To program such an infrequently performed opera as Daphne and leave the audience convinced of having attended an exceptional performance, in which almost everything worked to perfection, is something that deserves both public notice and hearty congratulations to the theatre that made it possible. This was a triumph first and foremost for Richard Strauss, but also for a great stage director, an excellent conductor and a truly exceptional team of singers, headed by a magnificent protagonist. It was a true pleasure.

I say that the most important triumph should be for Strauss because I believe he is one of the very few summits in opera history. Some music critics believe - and perhaps they are not wrong - that the three operas by Richard Strauss with librettos by Josef Gregor - Daphne, Friedenstag and Die Liebe der Danae - are unfairly and even deliberately neglected. To my mind,  Daphne is one of the very of Strauss's operas and something that should not be missed, especially if it is this performance in Frankfurt. What a great composer Strauss was and what wonderful music he wrote for sopranos!

Frankfurt has bet very strongly on  Daphne and has commissioned a new production from Claus Guth: the result is magnificent. There are no gods or nymphs and even less metamorphosis into plants in this very intelligent production by a genius of stage direction. The work is conceived as a flash back by a very old Daphne (played by Corinna Schnabe)  who recalls events that she lived through as a girl and which left her traumatized. Clearly,  no-one has to be faithful to the exact setting in the libretto to create a good production.

Guth takes advantage of Frankfurt Opera's outstanding revolving stage to provide three different sets, all of them decadent and partially spoilt to fit perfectly with the ageing Daphne's memories. Guth’s work as director is excellent, in  collaboration with a group of outstanding singing-actors. He uses  the silent character of the older Daphne to very good effect and  she is always present on stage.  I'd guess that the protagonist's performance was also  a particularly close collaboration between director and singer/actor, and both are truly outstanding. After so many intellectual and boring 'pseudo-productions', one is all the more happy to attend the work of an  expert director. On some past occasions I have criticized some of  Claus Guth's work -  as in the Barcelona Liceu’s Meistersinger last year -  but   this time I have nothing but praise for him.

One of the stronger points in this performance was Sebastian Weigle's musical direction. In similar vein to my comments about Claus Guth,  there have been  times when I have not been too inspired this conductor, but here his reading was one of the best I have heard from him so far , and probably the absolute best. He was fully at the service of Strauss's wonderful score and he offered it in all of its splendour, always inspired and without a moment of waning interest. The excellent work he did with his orchestra resulted in by far the best performance of my stay in Frankfurt.

In the cast the Swedish soprano Maria Bengtsson shone as the extraordinary protagonist, the young nymph Daphne - perhaps giving  the performance of her life.  After seeing and listening to her, I am more than surprised that she is not a more regular guest in the world's top opera houses, despite her many appearances in Berlin, London's Royal Opera and elsewhere in Europe.  She is a lyric soprano with a pleasant timbre who is absolutely fascinating when singing Strauss. If we add to this  more than exceptional stage skills and an attractive figure on stage, I conclude that I cannot think of any better Daphne than hers anywhere today. This character needs a soprano similar to  Arabella, although the music is  much more demanding vocally and it is good to remember that in recent years both Renée Fleming and June Anderson have sung the role: even so,  Maria Bengtsson's performance seemed like a kind of miracle. I only have one big doubt, huge as the ocean: will she last? I really do hope so she is an ARTIST, in capital letters.

Apollo was played by tenor Lance Ryan and it was a real  luxury to have this singer for this unusual role, so demanding in vocal terms. Apollo is not a part for a true dramatic tenor, but it is extremely demanding and exposed at the top. Lance Ryan coped with the difficulties of the score easily, showing off a beautiful voice, attractive figure and good acting abilities. I found him better here than in the Valencia Siegfried in 2008 and again in the same role in 2009.

Daniel Behle proved a very good interpreter of Leukippos. A good singer, he provided a pleasant tenor, although it might be a little light for the demands of the character. He has the advantage though, that his voice is well projected, allowing him to be heard above Strauss's heavy orchestration. He also is a good actor.

 

In the secondary characters, a good performance by Matthew Best as Peneios  should be noted and although the character of Gaea (Daphne’s mother) requires a contralto, because it is very demanding at the bottom register,  Tanja Ariane Baumgartner left a very positive impression, albeit not exactly what the character requires vocally. There was a remarkably high level among the rest of the singers too, particularly the two maids sung by Christiane Karg and Nina Tarandek.

 

There was a sold out theatre and a huge triumph for this opera. Maria Bengtsson was justly acclaimed and there were also cheers for Sebastian Weigle, Lance Ryan and for Daniel Behle, though slightly fewer in his case.  This Daphne was worth the trip to Frankfurt by itself.

José M Irurzun