SEEN AND HEARD INTERNATIONAL

R. Strauss,  Der Rosenkavalier: Soloists, Orquesta Sinfónica de Madrid, Coro Intermezzo. Conductor: Jeffrey Tate. Teatro Real de Madrid. 6.12.2010 (JMI)

Co -production Festspielhaus Baden-Baden, Opera National de Paris and Teatro Real. A remake of the original production from Salzburg Festival

Direction: Herbert Wernick (Original)

Alejandro Stadler (Revival)

Sets and Costumes: Herbert Wernicke

Lighting: Urs Schönebaum

Cast:

Octavian: Joyce DiDonato

Marschallin: Anne Schwanewilms

Ochs: Franz Hawlata

Sophie: Ofelia Sala

Faninal: Laurent Naouri

Italian Singer: Alessandro Liberatore

Valzacchi: Peter Bronder

Annina: Helene Schneiderman

Commisaire: Scott Wilde

Marschallin’s Majordomo: Ángel Rodríguez

Faninal’s Majordomo: Josep Fadó

Innkeeper: Christoph Homberger

Notary: Lynton Black

Anne Schwanewilms as the Marschallin - Picture ©  Javier del Real

If Nicolas Joel decided last month in Paris to offer a tribute to Rolf Liebermann and Giorgio Strehler with the regurgitation of the famous production of Le Nozze di Figaro, something similar has happened with Gerard Mortier in Madrid, offering his tribute to Herbert Wernicke with the reconstruction of the production of Der Rosenkavaler, which had its premiere at the 1995 Salzburg Festival when Mortier was director there. This reconstruction was presented first at Baden Baden in January of 2009 with none less than Renée Fleming and Diana Damrau and Christian Thielemann in the pit.

Herbert Wernicke’s produntion has attractive and original sets, with the stage surrounded by mobile panels of aesthetically attractive, alternating painted sets and mirrors. Mr. Wernicke makes great work of the movement of mirrors, the production—in its contemporary setting—is too dark and the lighting doesn’t strike me as particularly inspired.

The stage direction is more questionable. Alejandro Stadler, a regular collaborator of Wernicke’s and his assistant in this production in Salzburg, was responsible for the direction in Madrid. I assume that Mr. Stadler has faithfully followed the original guidelines. In any case, what we got in Madrid was an opera buffa, not ‘comedy in music’. The program references this aspect, stressing that Richard Strauss conceived this opera as "comedy for music ", accepted by Hoffmansthal, who changed his original concept which had been that of an opera buffa. Wernicke's idea in the last two acts is mostly clownish, far from the fine sense of humor of the music and the libretto. Baron Ochs is a noble, rustic if you want, but not a complete, uncouth oaf, as Wernicke conceives him. On the other hand I do not see what is gained by Octavian hitting Och’s ass with his sword in, rather than in his arm. Wernicke fills up the stage with an excessive crowd of extras. This is particularly noticeable in the persecution of Faninal’s maids by innumerable Lerchenau’s servants, and also in the last act, where Ochs makes his final exit accompanied by more than 60 people, including some 20 children. Wernicke also changes the character of Mohamed to Harlekin. And Herr von Faninal becomes a pure buffo character in this production.

Madrid saw an outstanding conductor in the pit with Jeffrey Tate, current music director of San Carlo in Naples, who gave his debut at Teatro Real. For a while it was uncertain whether would be able to conduct with his health being less than optimal and his assistant Jonas Alber slated for at least some performances. In the end, the premiere and this second performance had Jeffrey Tate in the pit. Tate was at his best during the lyrical and melancholic moments, conducted with exquisite care and sensitivity. The second half of Acts I and III were magnificent, as it was the Presentation of the Rose. He got an outstanding performance form the orchestra, one of the best performances I can remember by this group, even as there were moments of where more lightness, less volume would have been desirable.

Octavian was sung by Joyce DiDonato who offered a remarkable performance, although I prefer her singing Rossini, where she is second to none. Mme. DiDonato is a natural actor on stage but facing a Marschallin so much taller than her demanded suspension of disbelieve. In terms of beauty of timbre, homogeneity of registers, voice projection and musicality there was nothing to find fault with.

German soprano Anne Schwanewilms really gave life to the Marschallin. A great singer, always at the service of the character, She was extraordinarily moving, full of melancholy, elegance and vocal beauty, in short: truly outstanding.  Baron Ochs was once more Franz Hawlata, who is an excellent actor for that role. But Baron Ochs needs more than just an actor. A powerful bass with outstanding low notes and a good high register is what is demanded; exactly what Kurt Moll offered in his days and what—at a less exalted level—Kurt Rydl once was. Hawlata has a modest voice, rather small in volume without brilliance at the top and inaudible at the bottom.

Ofelia Sala filled out (very thoroughly, as she is wont to) the part of Sophie, a role she played last season at the Liceu. I found her better than in Barcelona, freer at upper top range and brilliant in her hushed high notes.  Laurent Naouri’s Faninal was of little interest. I don't know how much interpretation of this role was his and how much was Mr. Wernicke’s, but I found it very unfortunate. His voice didn’t add much for better or worse. José Manuel Zapata cancelled his cameo as the Italian singer and was replaced by Alessandro Liberatore who had difficulties. Neither good nor bad, simply forced, like so many others.

José M Irurzun