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Spring Opera and Concerts in Berlin and Prague Professor Josephine Reiter
April 10-18, 2006
(See Photos Below)
SPRING OPERA AND CONCERTS IN BERLIN AND PRAGUE
April 11, 2006 – April 18, 2006
Berlin: The Barenboim Festival, Day 1
Staatskapelle Berlin, April 11, 2006, 8:00 p.m.
Philharmonic Hall
Conductor: Daniel Barenboim, Violinist: Nikolaj Znaider
Schönberg: Verklärte Nacht (Transfigured Night), Op. 4
Mendelssohn: Concerto for Violin and Orchestra in E Minor, Op. 64
Mahler: Symphony No. 1 in D
The Staatskapelle Berlin is the orchestra of the state opera (Staatsoper: Unter den Linden). Attending this orchestral program in Philharmonic Hall was comparable to going to Carnegie Hall to hear the Metropolitan Opera Orchestra here in New York. The Staatskapelle is truly an historic orchestra with a long, continuous history as the Berlin State Opera orchestra since 1742. It boasts an illustrious list of celebrated conductors including Felix Mendelssohn-Bartoldy, Richard Strauss, Furtwängler and Von Karajan, to name a few. Daniel Barenboim, the current music director of the Berlin Staatsoper: Unter den Linden, crafted a splendid romantic program to open The Music Festival this year. Moreover, the featured violinist was Nikolaj Znaider, the 1997 winner of the prestigious Queen Elisabeth Competition in Brussels.
There was beautiful interplay between the orchestra and this young virtuoso violinist in the Mendelssohn concerto. Barenboim elicited a gorgeous string sound in the expressive tone-poem, Transfigured Night,” which Schönberg wrote originally as a string sextet and orchestrated it for strings later. In the orchestral version, the sound envelopes the listener; and it’s wonderful. The program ended with Mahler’s Symphony No. 1 (The Titan), scored for an enormous orchestra with augmented brasses. The final coda properly seemed to lift the roof of this fine concert hall.
Berlin: The Barenboim Festival, Day 2
Tristan und Isolde: Staatsoper: Unter den Linden, April 12, 2006
Libretto and Music: Richard Wagner
Music Director: Daniel Barenboim
Stage Director: Stefan Bachmann
Orchestra: Staatskapelle Berlin
Peter Seiffert, (Tristan), Deborah Polaski (Isolde), Rene Pape (King Mark)
Roman Trekel (Kurwenal), Michelle DeYoung (Brangäne), Reiner Goldberg (Melot)
This Tristan und Isolde was a minimalist production on a spare stage with dramatic lighting against a broad white background. Barenboim was superb in his pacing of Wagner’s monumental masterwork, and the Staatskapelle Berlin responded to his every gesture to create a dark, expansive interpretation of this incredible erotic music-drama. The singers were all strong. Deborah Polaski was a very believable Isolde, who seemed to float into the ether in the Liebestod at the end; and Peter Seiffert’s “delirium” in Act III brought us inside his head in his retelling the tormented memories of his past as though he were lying on Freud’s couch.
Bass Rene Pape is a first-rate King Mark whose disappointment at the close of Act II (in discovering his wife Isolde in the arms of the treacherous Tristan, his nephew and best friend) was very poignant.
What made this production so unique, however, was the non-speaking actor, Tristan II (Dominik Stein), who was on stage whenever Tristan was singing, but who simply stared into space or sat at the foot of the stage looking out over the audience. The program notes indicated that the stage director, Stefan Bachmann, wanted the stage sets and staging “not to represent the things themselves but rather their appearances.”
I found this production of Wagner’s Tristan to be wild and strange, but wonderful. Barenboim conducted the entire opera without one note of music in front of him. While the singers had powerful voices and truly communicated, Tristan II seemed to distract rather than add to the drama. Even so, Richard Wager’s powerful music worked its spell as it always does with first-rate singers, a fine orchestra, and an excellent conductor, in a major opera house.
Berlin: The Barenboim Festival, Day 3
Klavierabend: Daniel Barenboim, April 13, 2006
Philharmonic Hall
Daniel Barenboim performed Book I of Bach’s Das Wohltemperierte Klavier (The Well-Tempered Keyboard) in-the-round, i.e., with the audience seated on in front and behind the stage on which the concert grand piano was situated. Bach wrote Book I in 1722 for the keyboard instruments of the day: harpsichord, clavichord, and organ. Barenboim played the 24 preludes and fugues idiomatically for the modern pianoforte instrument and achieved this performance success through his sensitive phrasing, use of the pedals, choice of dynamics, and overall keyboard technique. He captured the inherent energy in the toccata-like preludes (e.g., No. 21 in B-Flat Major with its lively fugue) as well as the more introspective preludes (e.g., No. 1 in C Major with its familiar arpeggios, or No. 12 in F Minor, followed by its angular, dramatic fugue).
The evening ended with the powerful Prelude and Fugue in B Minor, No. 24, whose opening is reminiscent of the chorale melody (sung by the two armed men) over a moving bass-line in Mozart’s Finale to Act II of Dei Zauberflöte, followed by the B-Minor Fugue based on a highly chromatic fugue subject, moving at a largo tempo. Barenboim exploited the dissonances to bring the recital to a close—a fitting tribute to Bach and Barenboim.
Berlin: The Barenboim Festival, Day 4
Parsifal
Staatsoper: Unter den Linden, April 14, 2006
Libretto and Music: Richard Wagner
Music Director: Daniel Barenboim
Stage Director: Bernd Eichinger
Orchestra: Staatskapelle Berlin
Burkhard Fritz (Parsifal), Rene Pape (Gurnemanz) Michaela Schuster (Kundry), Hanno Müller-Brachmann (Amfortas), Jochen Schmeckenbecher (Klingsor), Christof Fischesser (Titurel).
Attending a Parsifal on Good Friday is an experience that overwhelms, despite the fact that Richard Wagner’s emphasis and/or perspective is not simply Christian redemption. Wagner was motivated by world mythology which transcends different cultures, e.g., the hero passing from innocence to awareness, befriending his shadow side (Amfortas), defeating his destructive feminine (Kundry) to release creative forces, confirmed in his mission by his wise old man (Gurnemanz), and reconciling all of these opposites within him around a central symbol that is his Self (the Grail) as M. Owen Lee has so clearly articulated in his essay on the opera in his paperback: First Intermissions.
This was a very good production in a kind of mixed mode: modern sets but traditional costumes. Elaborate computer graphics generated many grand, cosmic effects against a large screen. Once more the singers were very good: baritone Müller-Brachmann’s Amfortas conveyed the intense anguish and pain of his festering wound; tenor Burkhard Fritz was a creditable Parsifal; and mezzo-soprano Michaela Schuster was a wild Kundry.
Even so, Rene Pape “owns” the role of Gurnemanz. He was noble, wise, stern, strong, and kind, as called for by the words and music. Having heard him again at two performances recently at the Metropolitan Opera here at Lincoln Center, I am convinced there is no one singing Gurnemanz today better than Pape. In all Wagner’s music dramas the orchestra is as important as any of the singers. The Staatskapelle under Barenboim was superior in this grand, expressive work; and the male chorus, which contributes much to the thoroughly “German” quality of this enormous music drama, was particularly impressive.
Berlin: The Barenboim Festival, Day 5
Klavierabend Daniel Barenboim, April 15, 2006 Philharmonic Hall
Daniel Barenboim performed Book II of Bach’s Das Wohltemperierte Klavier [The Well-Tempered Keyboard] during an afternoon recital, once again, in-the-round at Philharmonic Hall. Given the delight in contrast that is characteristic of baroque music, Barenboim made the most of such contrasts in both the form and content of each of the twenty-four preludes and fugues that make-up Book II, which was written in 1744. The beginning (No. 1 in C Major) and ending (No. 24 in B Minor) preludes and fugues highlight the “contrast.” The program opened with the leisurely C Major Prelude whose harmonic tension, moving at an andante tempo in duple meter, built to a satisfying final cadence, followed by the sharply defined fugue subject, moving at a vivace tempo in triple meter.
The program ended with the B Minor Prelude and Fugue (No. 24) more introspective in the contrapuntal prelude in duple meter, followed by the straight-forward, deliberate fugue subject in a direct, frontal triple meter. There are few monumental collections in music to have influenced subsequent generations of musicians as has The Well-Tempered Keyboard. Bach wrote the 48 preludes and fugues to demonstrate equal tuning of the keyboard, to teach (both composing and performing the contrasting forms) and to please, i.e., to give pleasure to the listener.
Barenboim did not disappoint in transmitting the third purpose in pleasing those in the audience for either or both recitals. I believe that Johann Sebastian Bach would approve of such an intelligent, sensitive performance of his entire monumental collection on a modern instrument.
Daniel Barenboim has recorded both volumes of Das Wohltemperierte Klavier on Warner Classics. See: www.warnerclassics.com
To be precise, this interesting five-day series of an orchestral concert and two solo piano recitals at Philharmonic Hall and two operas at the Under den Linden State Opera, is entitled: Festtage 2006 (i.e., Berln Festival 2006). In reality, however, it was the Barenboim Festival 2006. Daniel Barenboim is a multi-talented virtuoso: conducting the opening Staatskapelle orchestral concert; performing both books of The Well-Tempered Keyboard on different programs while conducting Tristan and Isolde and Parsifal in between. There are very few living conductors who could attempt such a demanding program and accomplish it with such success. Next year’s Berlin Festival will feature the entire Mahler repertory.
Der Rosenkavalier, April 16, 2006
Komische Oper Berlin
Music: Richard Strauss
Libretto: Hugo von Hofmannsthal
Music Director: Kirill Petrenko
Stage Director: Andreas Homoki
Orchestra: Orchestra of the Comic Opera Berlin
Geraldine McGreevy (Feldmarschallin), Jens Larsen (Baron Ochs),
Stella Doufexis (Octavian), Klaus Kuttler (Herr von Faninal), Brigitte Geller (Sophie)
Although Rosenkavalier at the Komische Oper was not part of the Festival, it was too good to pass by. The Komische Oper is a neo-baroque gem of an opera house just down the wide boulevard toward the Brandenburg Gate and on the other side of the street from the Staatsoper: Unter den Linden. This production was like a delicious dessert—fun from beginning to end.
Act I began with the playful, erotic interchange between the Marschallin and Octavian, a “trouser” role for mezzo soprano, and set on a spare stage, mainly in black and white with selective, discreet gold décor. Both soprano Geraldine McGreevy and mezzo-soprano Stella Doufexis were well-cast, sang with spirit, and moved with ease. The tall Jens Larsen, in the role of Baron Ochs, is a first-rate comic actor with the voice to go with his outrageous antics. Moreover, everyone on stage, including the many servants and various aristocrats throughout the opera, seemed to be having a good time.
Act II, set in the reception salon of the young, beautiful Sophie and her family, where the Baron and company come “courting” features the big waltz melody and a plot that thickens as Sophie and Octavian fall in love. Act III is even wilder as the plot becomes even more complicated. Amid much confusion the Marshallin enters and restores order as the opera ends with the glorious soprano trio (the Marshallin, Octavian and Sophie). It is one of the great moments in all opera; and this trio did not disappoint. This is a very serious moment as the Marshallin gives up her love for her younger lover while Octavian and Sophie profess their feelings; and sopranos McGreevy, Doufexis and Geller really made us care about this marvelous web of subtle, mixed feelings over what is true and good. See: www.komische-oper-berlin.com.
Prague - A City of Music
There are three opera houses in Prague: the National Theater, the State Opera House, and the Estates Theater . It is easy to understand Mozart’s love of this city. Other venues include concert halls (Smetana Hall & the Rudolfinum ) and recital salons, (e.g.,Bertramka, which is devoted to the music of Mozart). For the music-lover Prague is the place to be.
The Verdi Requiem, April 17, 2006
The National Theatre
[Národni divadlo]
Music: Giuseppe Verdi
Words: based on the liturgical text for the mass for the dead in the Roman liturgy.
Conductor: Jiří Nekvasil
Stage Design: Daniel Dvořák
Costume Design: Simona Rybáková
Choirmaster: Jaroslav Brych
Dance Coordinator: Stevo Capko, Veronika Svábová
The National Theatre Orchestra
The Prague Philharmonic Choir
Soprano: Cellia Costea
Alto: Yvona Skvárová
Tenor: Valentin Prolat
Bass: Miloslav Podskalský
This was an extraordinary production of Verdi’s Messa da Requiem because it was fully staged with dramatic costumes, sets, and lighting. Moreover, the choreography, combined with the melodic lines, bold harmonies, brilliant orchestration, over which the choral and solo vocal lines soar, created a distinctively dramatic effect. Some critics refer to Verdi’s Requiem (1874) as his best opera. It certainly approached the grandeur and depth of opera in this production. This grand, yet profoundly personal, work is sometimes called the Manzoni Requiem, because Verdi wrote it to honor the memory of the Italian poet, novelist, and playwright, Alessandro Manzoni, who died that year. See: www.narodni-divadlo.cz
Rusalka, April 18, 2006
State Opera House
[Statni Opera Praha]
Music: Antonin Dvorák
Libretto: Jaroslav Kvapli
Music Director: František Drs
Stage Director: Zdeněk Troška
Prague State Opera Orchestra, Chorus and Ballet
Simona Procházková (Rusalka), Igor Jan (Princ), Vodnik (Roman Vocel)
Galia Ibraglimova (Ježibaba), Magda Málková (Cizi kněžna), Oldřich Kříž (Hajný)
Rusalka, Dvorák most famous opera, is a fairytale in three acts based loosely on the Ondine myth. It was a delight to hear the Prague State Opera’s production of this very romantic work, sung in the Czech language by Czech actor-singers. It is a story about the water nymph Rusalka, who after making a pact with the witch Jezibel, is turned into a young woman for a price: she will lose her translucent beauty and her voice once she becomes human. Moreover, if Rusalka fails to retain the love of the fickle prince with whom she is in love, she will return to the realm of water as a will-o’-the-wisp to lure humans to the depth of the lake. This sad narrative is romantic not just in content but also style. Dvorák's Rusalka is reminiscent of Wagner’s principles of endless melody and a subject drawn from myth. Yet, the duets soar in passionate sound that is distinctly Dvorák.
The traditional sets appear against a modern backdrop of water imagery projected on a large screen to give the realistic impression of moving water. Act II featured a grand double staircase that provides an effective entrance vehicle for most characters in the scene at court. Soprano Magda Málková, singing the role of the vicious Foreign Princess, makes the most of the set and is a very believable femme fatale. Mezzo-soprano Galia Ibraglimova (Ježibaba) also has a strong voice as does bass Roman Vocel, effective as the Water Gnome. However, the demanding role of the Prince, seemed less suited to the tenor voice of Igor Jan, who was straining in his upper register for much of the night. Soprano Simona Procházková was a superb tragic heroine and clearly the star of the production. She created the complex character of Rusalka—half human and half supernatural creature---with sympathy and passion. See: www.cez.cz.
Kouzelná Flétna (Die Zauberflöte), April 18, 2006
[The Magic Flute]
Estates Theatre
Music: Wolfgang Amadeus Mozart
Libretto: Emanuel Schikaneder
Music Director: Jan Chalupecký
Conductor: Zbyněk Müller
Stage Director: David Radok
Choreographer: Hakan Mayer
The National Theatre Orchestra, Chorus and Ballet
Martin Srejma (Tamino), Zdeněk Harvánek (Papageno), Dagmar Vaňkátová (Queen of the Night), Alžběta Poláčková (Pamina), Miloslav Podskalský (Sarastro)
The Estates Theatre is a definite Mozart pilgrimage place in Prague. This is the theatre in which he conducted the premiere performance of Don Giovanni in 1787, and it continues to be a functioning opera house in 2006. It was a particular pleasure to experience Mozart’s singspiel The Magic Flute in this historic venue. Moreover, it was a distinctive production because of the dancers who were prominently on stage from the first sounds of the overture and at relevant moments in each of the two acts. Martin Srejma’s lyric tenor voice rendered a sweet “Portrait Aria” prior to the entrance of the Queen of the Night. The Queen has two demanding arias, one in each act. Dagmar Vaňkátová’s Queen was not convincing as the grieving mother turned vindictive in Act I; but she improved with her fiery, defiant revenge aria in Act II.
Miloslav Podskalský, who had sung the bass solo a few days earlier in the Verdi Requiem, was a solid Sarastro, the noble High Priest; and his great moment came in the stately aria “In These Hallowed Halls.” However, the most moving moments came with the singing of Alžběta Poláčková’s Pamina, both in her “Man and Wife” duet with Papageno (sung by baritone Zdeněk Harvánek) and in her poignant “Desolation” Aria later in Act II.
Overall, this was an interesting, Magic Flute but not a great one. This opera has something in it for everyone, and it has been pleasing audiences since Mozart wrote it at the end of his short life. I do not believe that it needs or calls for dancers; but, their movements made sense with the marvelous music. This just goes to show that Mozart is alive and well in the 21st century. May his music continue to inspire new productions to enhance the pleasure and magic of his “Flute” for the next generation of opera-goers.
It is worth noting that, in my visit to the Baltic countries in May of last year and in my two visits to Prague this year, the opera audience was made up of children, young adults, and the usual middle-aged and older listeners and viewers. Moreover, they seemed to be having a good time. In Manhattan we have an opera house that is second to none in the world, in my opinion; yet, the demographics of the audience are skewered to the older attendee. Why can’t we broaden our audience in the United States? The answer, I believe, involves cost, education, cultural values, and parental
attitudes, among other factors. This, of course, is a subject for another time. See: www.estatestheatre.cz
Prof. Reiter at the opening Berlin Festival 2006 Concert in the balcony behind the stage set for the Orchestral Concert Staatskapelle under Barenboim with violinist Nikolaj Znaider
Photo courtesy of John Bohm
Outside of the Staatsoper: Unter den Linden
Photo courtesy of John Bohm
Daniel Barenboim at Philharmonic Hall
Photo courtesy of John Bohm
Exterior of the Prague State Opera House [Statni Opera Praha]
Photo courtesy of John Bohm
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