Tag Archives: Pavol Breslik

Shoot the doppelgänger / Eugene Onegin / Royal Opera House – 11 February 2013

15 Feb

ROH OneginIt was a catalogue of misfortunes that added to an overall uneven and at times unjustifiably flat performance of Yevgeny Onegin (the Royal Opera not too keen to use that title it seems). The non operational surtitles during the first half was not the best advert for the ROH but surely they have well practised tannoy apologies and they delivered it twice to the amusement of everyone occupying the cheap seats. Glad to report a pensioner’s riot and occupation of the Amphitheatre was averted at the last minute and a few photocopies of the synopsis later.

Let me start from the positives, the set and costumes were rather elegant. The set comprises a four doored frontage is turn of the century plasterwork and mouldings. All in an off white colour heavily influenced by Vilhelm Hammershøi‘s melancholic interiors and the backdrops behind were modelled on Gerhard Richter‘s painfully beautiful and trendy abstracted photorealism rendered in video animation. Visually it was a potent mix that had an equal amount of suggestion and representation. The respectively red and blue palette used for Tatyana and Yevgeny creating a stark contrast against the rest of the colour choices (pistachio for Olga, beige and powder blue for Lensky, black for the chorus) and making them pop. The set was particularly successful as a setting when the doors closed and the front of the stage became surprisingly intimate. But somehow the parallel nature of the set made it look like something designed for Holten’s previous employer, the Royal Danish Opera, where they do scene changes by moving sets sideways. Spent most of the evening expecting the set to slide sideways, but to no avail since the ROH does not have such a facility the set stayed put. With Madame Larina’s ballroom looking as wide as a goods lift it barely inspired. Things did get better in the last act when Prince Gremin’s ballroom extended to a further room doubling the space and the perspectival play was very effective coupled with some well done choreography.

Unfortunately the orchestra under Robin Ticciati did not seem to find its way through the lyrical score, with notable lack of balance at times and off pacing. Particularly the letter scene and the finale stood out too much with the orchestra playing too loudly and in total contrast to the earlier slack tempi that sent many a pensioner to sleep.

The insurmountable obstacle that stops me from loving this interpretation is Holten’s use of doppelgänger dancers of their young selves  idea for Tatyana and Yevgeny, it is both inconsistent (they only appear in a handful of scenes) and it is distracting that the singers acknowledge their presence. Had they been treated as memories and thus remained untouchable it may have worked. In this case it seemed like the director lost confidence in the singers to express emotion through their acting and needed the use of two dancers to mime instead. Another thought that passed my mind was the possibility that the Director walked into the rehearsal room and thought ‘oh my, they both look too old for the characters’ and brought in the dancers to embody them in Act One.

The doppelgänger idea falls totally flat in the letter scene where Stoyanova is left just pacing on the stage while the “young Tatyana” rithed and contorted her way, draped herself on the chair and just sucked out the oxygen from such an accomplished singer, especially when she sang with such assurance and feeling.

Another terrible example was the duel between Lensky and Yevgeny, with the dancer getting possession of the gun while Keenlyside looks on and mirrors his movements pointlessly. The apogee of this emptiness in the staging comes when the dancer actually pulls the trigger. It saps all the energy from this macho confrontation scene and renders it weak and almost incidental. You can imagine what must be going through Keenlyside’s head when he is being marginalised to such a degree during such a crucial scene. He did do his best but unfortunately I paid more attention to the branch that Breslik carried in for the duel, than the singers.

Overall the singing was from very good to excellent, Keenlyside admittedly took a while to warm up but he was absolutely wonderful in the last Act. Stoyanova was wonderfully warm and paid unique attention to the libretto, also moved with elegance and when left to act (like in the last scene, where the doppelgänger has gone) she was captivating to watch. Peter Rose’s Gremin was as imperious as one would expect but also brought a vulnerability that made him much more believable than usual. Diana Montague, always a classy singer, delivered stage charisma in spades in the largely thankless role of Madame Larina. The audience’s favourite was Pavol Breslik who did sing with vim and longing and we all felt sorry for having to endure being dead on the ground for the last forty or so minutes. A ludicrous directorial decision that again added very little to the story and just made it much more difficult for him and his colleagues, who had to avoid stepping on him on a number of occasions. To be honest none of the clutter that made the front of the stage, from Tatyana’s strewn books to the harvested bunches of wheat, to the dead body ever got cleared. It was another comment on memory, but my goodness it made for sloppy looking staging and was rather too obvious.

It is beyond me why directors find Onegin such a fertile ground for silly experiments. Tchaikovsky’s opera couldn’t be more straightforward and the fact he entrusted its première to the students of the Conservatoire in Moscow makes that evident. I presume Holten thinks he has added another layer of interpretation, with his direction focusing on the nature of memory and looking back in retrospect with regret. Unfortunately in this case all he added was a distancing device that told us surprisingly little that is not already in the score. Seeing it two days after Konwitschny’s  Traviata and after the very successful Opera Holland Park production last summer it proved to be an evening of style over substance. This production did not seem to be happy to either go avant garde and offer a different concept or to be traditional. It occupied a middle ground that was neither very interesting or to the benefit of the material.

ROH Onegin list

 

Carry on Don Giovanni / Royal Opera House, Covent Garden – 26 February 2012

28 Feb

Francesca Zambello’s 2002 staging of Don Giovanni has been revived more frequently than most. Have passed on the opportunity to see it the last few times, but a coincidence of price cuts and the chance to see Erwin Schrott strut his stuff was good enough to lure me. The staging (if you haven’t heard already) is tasteless, full of vulgar catholic kitsch with a certain propensity to grand gestures in the last 10 mins of each act. The only Coups de Théâtre being the use of the revolve, some fire and a dangling hand pretty much summarises its banality.

Messrs Schrott and Esposito were pretty much covered in glory, despite the directing which is too frequently anchoring the singers at centre stage, encouraging more a stand and deliver attitude than acting and a more natural delivery. They clearly worked well together and bounced off each other’s energy…despite  getting at times too carried away and almost reaching carry on movie territory. But so much enthusiasm at least stops us from looking at all the awful crucifixes just behind.They managed to bring their characters to life and with a high calibre of singing throughout. Breslik also sang with assurance and style, adding charisma and spark to Don Ottavio’s pretty mundane part in the proceedings. Hagen was very stylish despite the breakneck speed of the conducting which robbed him of his true dramatic momentum.

The unfortunate low  point of the evening was the three women. Donna Anna was passable but the wooly sound and the out of control vibrato marred Non mi Dir which should really be a show stopper, even in this pedestrian production. Our Donna Elvira was not in much better shape struggling to be heard at times and despite the convincing acting the vocal finesse was lacking. Her Mi tradi quell’alma ingrata was far from definitive, failing to create the moment of emotional release needed. As for Zerlina, if this was a competition for a beautiful blonde girl in a dress she would have won, but unfortunately singing was required and her hard timbre was frequently unpleasant to listen to.

Unfortunately Carydis was back at the helm (he was replaced on the previous performance, due to sickness) and gave us a flat and bizarrely dispassionate reading of the overture which was a let down, with little variation in speed or colouring. His conducting did improve a bit, allowing for some beautiful lyricism to come out. But he doesn’t strike me as a singer friendly conductor, as quite a few times they were left to fend for themselves, out of breath and not getting much attention from the pit. I would go to the extreme of preferring a pre-recorded accompaniment (I know…I know) than such a terrible live orchestra that paid little attention to Mozart’s exquisite score and the performers on stage.

And a special mention for the audience, which was one of the worst I’ve ever experienced at Covent Garden. The coughs of one person with what sounded like developed bronchitis two rows behind me. The incessant clapping in inappropriate moments made the evening feel like a game show, if you get annoyed with clapping at bel canto performances this was 90 times more irritating. And to top it all off, a group behind us who had no volume control kept chatting during the performance. I’ve surely been to pantos with better audiences than this. Such a shame.

PS Veronique Gens and other sources have confirmed that this was the last outing of this substandard production. We are due a brand new one for 2014, hurray!

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