The serious business of being Richard Jones / Der Rosenkavalier / Glyndebourne – 8 June 2014

11 Jun

Glyntz RosenkavalierThis production of Rosenkavalier became a media sensation a few weeks back on the back of a bunch of jaded bores that focused on why a woman who is dressed as man and pretends to be a woman didn’t look manly enough. A truly burning non problem. What they seem to have skirted around was the elephant in the room…the oversupply of stock Richard Jones and not nearly enough Richard Strauss.
All the clichés are there for the count…comedic furniture, ugly wallpaper, pointless zombie crowd scene, early 20th century update and list goes on and on. Jones treating the work as an opera buffa with a disregard for the central question on aging and loneliness. The Marshallin seen as a clothes horse that has little emotional depth and just likes to flaunt her beauty in empty gestures and exhibitionism. This central betrayal of the opera is an impossible fact to ignore. At least most of his well-drilled visual jokes fell fairly flat on Sunday with the only true laughs for a sofa in Act Three which proves how his slapstick doesn’t quite work in practice anymore. And renders many of the set pieces predictable and meaningless.

His only real engagement with a character’s deeper implications was the one of Sophie’s. Her presentation at the Faninal palace on top of an oversized board room table did spell out her status as a tradable good. As always with Strauss his women are multilayered human beings with interesting stories to tell. Sophie’s love at first time moment with Octavian was exaggerated with a side to side synchronised sway that one would expect on a Disney cartoon. It may have been endearing at first but eventually made the characters look incapable of true feelings. For all his directorial skill at stage pictures he seemed lost at sea at engaging with the emotional worlds that Hofmannsthal and Strauss worked so hard at. Taking a multilayered social drama of the souls and turning it into a parody.
The musical standards were equally patchy with Kate Royal being obviously cast for her gorgeous looks but not for her voice, who became barely audible at any orchestral surges and in duets with Tara Erraught. It is a role that has some of the most thoughtful and introspective music in Strauss’ output and yet Kate Royal preened and stared with little pathos and with a matching bland and underpowered vocal performance. Having seen both Soile Isokoski and Anne Schwanewilms in the last month sing the part I was disappointed. The magic of the score evaporated into a forced battle for survival. The effortless grandeur required turned into a whimper.

Tara Erraught’s Octavian may not have displayed the eloquence that comes with experience with the likes of Sarah Connolly and Alice Coote but she displayed a vivid engagement with the horny, red-headed side of the character and truly let her hair down as Mariandel layering the slapstick thickly, very much in style with the direction.  Her singing assured and her projection loud and clear.

The Baron Ochs of Lars Woldt was an extraordinary find, a role that in recent years had become the preserve of end of career baritones, using humour to hide huge vocal deficiencies, it became a star vehicle. He sang with great warmth and the attention to the language only a native German speaker can give. His take on the role less sarcastic than most, made me for the first time feel compassionate and maybe even protective of him.

Also very strong contributions by Michael Kraus as Faninal that countered Ochs with the superficial seriousness new money brings. The Marianne of Miranda Keys made a big impression in her description of the arrival of Baron Ochs’ entourage mixing her sweet toned voice with her over-excited persona.

The overall musical direction of Robin Ticciati was lithe and swift but quite frequently at the expense of the more lush string sound one would expect in this opera. It was a display of promise for the future seasons than the finished article of a performance. Maybe having heard the LSO and the CBSO play the score in the past weeks spoilt me.

For all the uproar and the body shaming, it is terribly ironic how very few people focused on the flip side of the coin. The casting of a wonderful singer that is totally inappropriate for the role. The final trio is one of the most sublime pieces written for female voices and yet on Sunday I could not wait for it to end. It had none of the magical, superlative beauty.

Glyntz Rosenkavalier List

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