Tag Archives: Rosenkavalier

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

The Curtain Call 

Some Tweets from the day

My take on the coverage of Rosenkavaliergate

23 May

Rosenkavaliergate wig multiSince last Sunday when the reviews for the production of Der Rosenkavalier at Glyndebourne came out a worrying pattern emerged, the major opera critics (FT, Guardian, The Times, Independent, Telegraph) chose to focus on the appearance of Tara Erraught, the bubbly fast rising Irish Mezzo who is cast as Octavian. Instead of getting into a critique of the production the critics felt that their own jaded pre-conceptions of what Octavian ought to look like cloud their judgement to such a degree that they didn’t see any further than the surface.

Their direct insults not aimed at the costume designer or the director (who, may actually required a less manly looking Octavian, after all) but a wonderful young singer who had just made her debut at one of the world’s most celebrated operatic stages. In the coming days all and sundry had an opinion about the attack but somehow had very little to say about the production. Richard Jones gets a wink and a carte blanche while Erraught gets thrown to the dogs.

Some tried to read feminist theories and male conspiracies in the story and wrote about grumpy old men berating a defenceless young female. It all got to an idiotic conclusion with a puff piece blog piece on the NPR website.

What we should be talking about is about the quality of coverage of opera in the mainstream media, the capability of the reviewers to see beneath the superficiality of appearances and manage to convey the overall picture of the production and the achievements within. Only Michael Volpe, the manager of Opera Holland Park was willing to look into the broader ecosystem of how opera houses attract audiences and what expectations they cultivate. It has been for a very long while less about the music and more about selling an entertainment package. The houses are complicit in this drop in standards of reviewing by encouraging superficial gut reactions on social media and by advertising productions with glossy advertorials, frequently featuring models (Raymond Gubbay and the Royal Opera House have done that so many times). When I worked at the Royal Albert Hall I remember an audience member being sorely disappointed that the model in the posters of Carmen had no resemblance to the singer singing the part.

It may seem silly but raising expectations beyond the reality of the artform is a sure way to create despondence and mis-selling the show concerned. The houses by not focusing on the productions and the artists are as disrespectful as those reviewing Neanderthals that have no connection with the world outside their own little clique.

Everyone has been far too eager to have a piece of the action over the last few days, including a rather flatulent piece by a fellow member of the cast that made its way to a rather boring corporate site. I am looking forward to seeing the production live on June 8th and you can all join me in cinemas around the world and online. Strauss gives so much to talk about in a rich work like Rosenkavalier. Not just Tara Erraught lost out on having a triumphant first appearance at Glyndebourne she deserved, Strauss also was let down by the short-sightedness of those present that should have known better and did not rise to the occasion.

The abhorrent reviews by
Rupert Christiansen: http://www.telegraph.co.uk/culture/music/classicalconcertreviews/10839018/Glyndebourne-2014-Der-Rosenkavalier-review.html
Michael Church: http://www.independent.co.uk/arts-entertainment/classical/reviews/der-rosenkavalier-glyndebourne-opera-review-perversely-cast-9395750.html

The searching and even-handed piece by Michael Volpe can be read here: http://slippedisc.com/2014/05/opera-festival-director-it-is-inappropriate-to-mention-body-shape/
The thoughtful and personal response by Elisabeth Meister can be read here: http://elisabethmeister.wordpress.com/2014/05/19/big-boned-and-thick-skinned/

The non apology by Christiansen has amassed over 120 comments…that must hopefully be a good time for him to pause and think.

The review by Fiona Maddocks in today’s Observer (25 May) can be seen as the coda to this overdramatised saga that lasted too long and it was fuelled by self interest and loathing.


This post was first published in my weekly newsletter, you can read and subscribe to it here: http://operacreepnewsletter.wordpress.com/2014/05/22/operacreeps-week-no4/

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