Catalani - La Wally (Geneva 2014 - Webcast)

Alfredo Catalani - La Wally

Grand Théâtre de Genève, 2014

Evelino Pidò, Cesare Lievi, Ainhoa Arteta, Bálint Szabó, Vitaliy Bilyy, Yonghoon Lee, Ivanna Lesyk-Sadivska, Ahlima Mhamdi, Bruno Balmelli

ARTE Concert - June 2014

Like most of Puccini's Italian contemporaries (Leoncavallo, Mascagni, Zandonai, Alfano), Alfredo Catalani's compositions are now rarely performed and all but forgotten. Some of those composers have at least one well-known work that is occasionally revived and performed, but in Catalani's case, although La Wally has some measure of recognition, it's mainly on account of one famous aria in the opera, "Ebben! Ne andrò lontana". Actual staged performances of the work however are rare indeed.

Maria Callas brought some recognition to the work, or at least its famous aria, but more recently its fame has chiefly been through the use of the aria in Jean-Jacques Beineix's 1981 French cult classic film 'Diva'. Involving the trade of a secret bootleg recording of the aria sung by a temperamental soprano who refuses to allow any recordings of her performances, the film played no small part in giving the aria from La Wally an air of mystique, glamour and prestige (and vice-versa the aria the film). 

The revival of Catalani's La Wally at the Grand Théâtre de Genève for the first time since 1962 doesn't attempt anything as ambitious as linking it with Diva - although the theatre promoted their new production with free screenings of the more recognisable Beineix movie - but settles for a traditional staging that simply gives the audience the rare opportunity of seeing the aria in its original context and evaluating whether the opera has any attraction to a modern audience. It proves to be a fine performance of Catalani's opera, even if it doesn't make a convincing case for the work having any lasting qualities.

While it's a pleasant enough work, skillfully composed and dramatised, the problem with La Wally is that it doesn't have any real distinguishing characteristics. With an Alpine setting, family rivalries and romantic entanglements involving a virginal daughter being forced into an marriage of convenience, the subject of La Wally has much in common with opera semi-seria and bel canto works like Bellini's La Sonnambula, Donizetti's Linda di Chamounix and Halévy's Clari. Catalani may not be a Bellini or a Donizetti, but La Wally does have at least one thing going for it. It has one great aria and unfortunately that is likely to remain the opera's chief claim to fame.

The problem is not so much the plot as what you do with it, and musically, La Wally is not particularly adventurous. The subject of the drama could be adapted more closely towards an Alpine version of passions and family feuds in the verismo style of Catalani's contemporaries, particularly Mascagni's Cavalleria Rusticana. (There is even a village religious procession written into the work that is tied to La Wally's declarations of purity). There are in any case plenty of conflicting passions to evoke and bring to the surface and, on the face of it, we also have a heroine who is not entirely an innocent but rather a proud and temperamental figure who gives full vent to her passions. There's plenty here for a soprano to get her teeth into, and you can see why a performer like Maria Callas would be attracted to the role.

The cause of all Wally's problems is her secret love for Giuseppe Hagenbach, the son of her father's long-time enemy. Made aware of this by Gellner - observant to Wally's behaviour since he himself in in love with her - her father Stromminger declares that she will marry Gellner forthwith or leave the south Tyrolean village of Hochstoff forever. Wally chooses to leave ("Ebben! Ne andrò lontana"). Her father dies soon after however and Wally inherits the Eagle Tavern. Jealous over the attentions that Giuseppe shows to the barmaid Afra, Wally responds furiously and throws a drink in the girl's face. In revenge Giuseppe bets that he can steal a kiss from Wally and bring her pride down to size.

This is not a big deal, you might think, not anything that you are going to write an opera about, but Wally has just declared how even a kiss would be a defilement of virginal purity. As she is in love with Giuseppe, she's going to find that a hard position to maintain, and the young woman is indeed made a fool of before the whole of the village. The dramatic resolution to the dilemma that has arisen in La Wally at least gives the work another distinctive feature which makes great use of its south Tyrol setting at the same time as it makes it extremely difficult to actually stage effectively. Having rescued Giuseppe from a ravine that he is thrown into by a vengeful Gellner and achieved forgiveness and reconciliation with the man she loves, Wally dies caught up in an avalanche on the mountain.

That's quite a coup de théâtre if you can carry it off. Director Cesare Lievi at least keeps the drama moving well to take us credibly to this point, and Evelino Pidò conducts the Orchestre de la Suisse Romande with loving attention for Catalani's score. Ezio Toffolutti's production design for the Grand Théâtre de Genève's La Wally is however very much a traditional period costume production with painted backdrops, basic props to represent the village and the tavern in Acts I and II, so recreating an avalanche on the stage was always going to be a bit of a challenge. Act III and IV, where the landscape plays a large part in the drama, is a little more abstract, with walls like shards of ice and a projection of a moon-like skull behind the slope that drops into a ravine. The slope is however merely a long white sheet that drags Wally into the hole at the climax, with flowing dry ice spilling over the backdrop behind her.

It's a basic representation of the scene, but it works reasonably well. Principally that's because Catalani scores practically the whole of Act IV as a lament for all Wally's troubles without stretching to bel canto ornamentation, but mainly it's because Spanish soprano Ainhoa Arteta makes this position (a precarious one) feel achingly real. She's not Maria Callas by any means, but it's a challenging role that the success of the opera rests upon, and Arteta carries it through impressively. Act IV also gives Giuseppe the chance to match himself to the soprano in a glorious duet, and it's here that Yonghoon Lee also demonstrates his worth. The other roles are less critical, but are also well performed here with Ivanna Lesyk-Sadivska's pure, clear timbre marking her out in the trouser-role of Wally's only true friend Walter.

Links: ARTE Concert, Grand Théâtre de Genève

Donizetti - Anna Bolena

Gaetano Donizetti - Anna Bolena

Wiener Staatsoper, Vienna 2011

Evelino Pidò, Eric Génovèse, Anna Netrebko, Elīna Garanča, Ildebrando D’Arcangelo, Francesco Meli, Dan Paul Dumitrescu, Elisabeth Kulman, Peter Jelosits

Deutsche Grammaphon

The first of Donizetti’s operas to be a major international success, Anna Bolena is a tragedia lirica that sets the tone for a number of subsequent works in the same dark, historical vein – Lucrezia Borgia and the two other operas that comprise the composer’s Tudor trilogy, Maria Stuarda and Roberto Devereux. First performed in 1830 and reflecting perhaps the revolutionary spirit of the times – the depiction of Henry VIII here is in marked contrast to that of the merciful Metastasian kings of the past – these works differ considerably in tone from the now mostly forgotten comedy works by Donizetti that preceded them (and indeed from the more popular but considerably better written comic works that followed such as L’Elisir d’Amore and Don Pasquale), but the qualities and the value of Anna Bolena as a key work of the composer itself haven’t always been recognised either. It took an astonishing performance from Maria Callas in her prime in Milan in 1957, in a Luchino Visconti production, to once again bring this particular work to the attention of the opera-going public, and with it a newfound appreciation for Donizetti’s work.

In some ways, with this new production at the Vienna State Opera in 2011, followed by its appearance on the stage at the Met in New York (two different productions but both featuring Anna Netrebko in the title role), Anna Bolena is again proving to be a key work leading to a rediscovery and re-evaluation of Donizetti as being more than just a composer of bel canto, but one capable of developing works with considerable dramatic power and unexpected depth of character. I can’t think of any soprano at the moment who would be capable of drawing new depths in the work in the way Callas did dramatically, but in terms of star-power and personality, as well as having a voice of great substance to match, Anna Netrebko is among the very the best we have for this kind of role. The Vienna production consequently might not be quite such a revelation this time around, but it’s a creditable performance nonetheless that brings out the true qualities of the work, and often it’s even quite exhilaratingly impressive.

Everything good that can be learned by the master Rossini is evident here in the disciple’s work, and it’s also possible to see the huge influence that Donizetti’s treatment of historical and romantic intrigues in Anna Bolena would have on Verdi’s mature works, and not just the early ones. I recently noted the use of duets in Donizetti’s late work Linda di Chamounix, but the dramatic and lyrical strengths of Anna Bolena also lie in such ensemble work, creating a fevered intensity to the love duets and to the confrontations between rivals, but creating additional complexity to the arrangements through quartets, quintets and choral work of remarkable power that carry those contradictory emotions and pronouncements. While such moments are hammered home to great effect and underscored by dark menacing tones, Donizetti’s sense of melody is also just as evident here as in the more tender moments and arias. Those elements are superbly brought out by Evelino Pidò and the orchestra of the Wiener Staatsoper, the drive of the musical forces being one of the most impressive aspects of this production (and one, I’m pleased to say, that is audible with remarkable detail and dynamism in the High Definition audio channels of the Blu-ray release).

Since the casting and singing is also of an extraordinarily high quality, it’s disappointing then that the stage direction by Eric Génovèse is so rigidly traditional. There is the merest suggestion of the courtly interiors of Windsor Castle, the same mostly fixed location adapted to a throne-room, a courtyard or a park as required, which at least means that there is a fluidity between scenes even if what takes place in them is largely static. It is of course difficult to stage such bel canto works, which are not terribly active dramatically, but the director here finds no imaginative solution, eye-catching arrangements or sets, leaving the performers to stride up and down the stage in the absence of anything much else to do. The costume design is at least impressive, enough to give the production some sense of dramatic realism, and the stage is brightly lit (perhaps with a few additional spotlights for the TV cameras), or at least the stars are well lit to shine brightly against the rather drab backgrounds.

And “stars” is not an accidental choice of words either, because they were undoubtedly the main attraction of this production, generating a great deal of press interest and commanding incredible prices for ticket sales. In the end, they all certainly live up to and almost justify the hype. Anna Netrebko in particular brings great presence to the role of Anne Boleyn. She’s not always the most convincing in the bel canto repertoire – although as Norina in another recent Donizetti role for the Metropolitan Opera’s Don Pasquale, she was outstanding – and this particular role represents a considerable challenge. It’s not just that Netrebko is following in the footsteps of so many great singers who have taken on the role in the past, from Guiditta Pasta – the original Anna B. – through to Maria Callas and Joan Sutherland, and unlikely to be able to stand up to the comparison, but her performance in this role also in a way represented more of a personal milestone that would consolidate her standing or define her limitations. In the event, her performance here kind of does both, but it must primarily be judged a great success.

Netrebko’s performance of Anna Bolena is a mixed one, but such is her own force of personality and tone of voice that comparisons to other singers soon fall by the wayside, allowing her performance in the role to be judged on its own terms. At times she does seem to be absent from the character, her voice not quite capable either of reaching those deeper emotional depths, failing to find any colour or personality in a scene, but at other times – notably in her duet with Elīna Garanča’s Jane Seymour where she identifies her rival, and in her final death scene – she suddenly seems to let fly with superb control and genuine passion (the same mixed qualities incidentally could also be said applied to Donizetti’s writing for this particular work). She’s at least never anything less than compelling and commanding whenever she is on the stage, the viewer captivated by how she is going to deal with any given scene. The other principals are no less impressive, Garanča in particular entering fully into character and rising to the challenges it represents dramatically and vocally, while Ildebrando D’Arcangelo is a solid and convincing Enrico (Henry VIII). Francesco Meli’s Percy is also worthy of mention, genuinely impassioned and of sound vocal ability, if not always in perfect time with the conductor. Elisabeth Kulman also makes a strong impression in the lesser but vital role of Smeton.

The quality of the Blu-ray release of the 2011 Wiener Staatsoper production of Anna Bolena from Deutsche Grammaphon is outstanding. Filmed for the screen by Brian Large, the veteran opera screen director does well to make the most of the limited dramaturgy and stage movements, the strong lighting making this look just marvellous. The audio tracks, LPCM Stereo and DTS HD-Master Audio 5.0, are, as I mentioned earlier, astounding. There such great depth, dynamic and detail audible in the playing of the orchestra, as well as in the singing that you can’t help but be impressed by the performances. In terms of extra features, there are only brief introductions to each of the two acts in German by Elīna Garanča. Subtitles are in Italian, English, German, Spanish and French.

Gounod - Faust

Charles Gounod - Faust

Royal Opera House, Covent Garden, 2011

Evelino Pidò, David McVicar, Vittorio Grigolo, René Pape, Angela Gheorghiu, Dmitri Hvorostovsky, Michèle Losier, Daniel Grice, Carole Wilson

Live HD Broadcast, 28th September 2011

It’s not too difficult to see why Faust is considered one of the jewels of French grand opera, nor why, featuring as it does in no less than three opera houses in my viewing schedule this quarter up to Christmas (Covent Garden followed by the Paris Opéra and the Met in New York), it still remains a popular fixture in the repertoire of many major opera houses around the world. With a tragic love-story, whose content is boosted somewhat with a cruel encounter between evil and innocence, all wrapped up in a sense of religious fervour, the purpose of the storyline might deviate from the original intentions of Goethe’s classic tale, but it has all the right elements for a passionate opera subject.

The storyline however is actually the least convincing thing about Faust, but the emotional range covered across those Manichean divisons provide Charles Gounod with everything he needs to spin it out into a wonderful variety of musical arrangements. It opens with the aged scholar Faust despairing and disenchanted with a life devoted to study that has failed nonetheless to provide any great revelations or even meaning. Given the chance by the demon Méphistophélès to seek the pleasures elsewhere, it’s a vision of a beautiful young woman, Marguerite, that convinces Faust to enter into a bargain that will mean the loss of his eternal soul. The dark, nihilistic tone of the opening – the first word spoken by Faust is a bleak utterance of “Rien”, “Nothing” – gives way to a sense of joyous hedonism, conquest and seduction that stands in stark contrast to the daily lives and modest passions of ordinary people and soldiers going to war. By the end of the opera, each of those characters is judged for their actions.

Within that not particular complex or surprising storyline where, of course, virtue is rewarded, there is nonetheless a wealth of tones, moods, emotions and tempos, and Gounod gathers them together with the all the most wonderful arrangements available to a composer of grand opera. Filled with memorable tunes and famous arias, including Marguerite’s famous Jewel Song, Faust also contains a fabulous waltz, rousing marches, numerous choruses and a ballet – all of which never fail to sweep up the audience and get feet tapping. And if that’s the simple measure by which you judge any performance of Faust, David McVicar’s production for the Royal Opera House, with the superb playing of house orchestra under conductor Evelino Pidò, broadcast live in High Definition to cinemas across the UK and the world, was unquestionably a success.



I’ve never been particularly taken with David McVicar productions, failing to see much in the way of a convincing concept or even a personal touch in his style other than it usually being a hotchpotch of random and generic opera theatrics. That’s the case here with his production of Faust, but it’s a style that works quite well with this particular opera. There might be little to distinguish the all-purpose set, but with a couple of adjustments and a change of lighting it’s able to switch very effectively between a scholar’s study and a church with an organ or between a street-scene and a night-club cabaret. Even the random elements in the wings – the opera house boxes on the left, the pulpit on the right – provide space for nice little touches and coups de théâtre on a stage where there is always something interesting going on. The Act IV Walpurgis Night ballet was undoubtedly one of the high points of the staging, but McVicar’s one little perverse touch in this opera of having Méphistophélès dress as a woman in the scene where he shows Faust the queens of the world actually worked quite well. I would never have thought anyone could get away with putting René Pape in a dress and tiara, but it actually suits the nature of his character here perfectly.

The big selling-point for this particular production however is its top-flight cast that in addition to Pape as Méphistophélès, has Vittorio Grigolo as Faust, Angela Gheorgieu as Marguerite and Dmitri Hvorostovsky as Valentin. If none of them are distinguished actors, you really couldn’t fault their singing. Each and every highpoint for their characters was reached and in most cases even surpassed. Grigolo started off slowly as the aging Faust, but more than came into his role as the younger rakish seductor (as he did when I last saw him in last year’s TV production of Rigoletto) while Pape, wearing a string of fine costumes was an appropriately magnetic and imposing presence in his demonic role.

Most impressive however was Dmitri Hvorostovsky, who really put a heart and soul into Valentin with an absolutely knock-out, spell-binding performance, but it was also helped by McVicar’s strong direction of his scenes, using the character for additional impact. Surprisingly, it was only the diva Angela Gheorghiu, who really failed to shine. She sang perfectly well, if somewhat underpowered in the role of Marguerite (a consequence perhaps of the cold that saw last Saturday’s live radio broadcast replaced by a recording?), but failed to find the right level to pitch an admittedly difficult character. Sometimes however, it’s difficult to differentiate whether she’s wrapped up in her character or just wrapped up in herself. All in all however, this was a fine production of Gounod’s classic, well up to the exceptionally high standards we’ve come to expect from the Royal Opera House.