Review - Nabucco (Verdi), Deutsche Oper Berlin, 17 October 2015

Nabucco - Dalibor Jenis

Ismaele - Attilio Glaser

Zaccaria - Liang Li

Abigaille - Francesca Mondanaro

Fenena - Ronnita Miller

Oberpriester des Baal - Marko Mimica

Abdallo - Gideon Poppe

Anna - Nicole Haslett

Chor & Orchester der Deutschen Oper Berlin

Conductor - Ivan Repusic

Director - Keith Warner

My previous and also the first live experience of Nabucco was Daniel Slater's production at Flemish Opera in 2013. The directorial approach focused on the moral question of greed and the public against those in power with reference to the Occupied Wall Street movement. The relevancy to contemporary affair was effective at the time but I agreed with my friend that this staging by Keith Warner would probably stand the test of time. The main focus was on Christian philosophy in the old testament that cast out the false idol and turned to one God or would be punished. Warner saw this opera alike a 19th century oratorio regarding religious moral dimension than the double message to rebuild a nation from broken states. When Nabucco putting on the gold mast and claimed himself above god, he suddenly became mad and unable to prevent the coup d'etat by Abigaille claiming the throne. Though he represented the one with righteous when regained senses, repent his sins by liberating the Israelites from execution and acknowledged their faith. In contrast, Abigaille not only lost her regal status but too late to repent and casted out from Jerusalem. Although she did all the wrongdoings, there was a degree of sympathy that one would realise the situation forced her to make all the bad moves and as a daughter of the slave. There was also a silent role in this production probably a representation of God himself.  An elderly man first pushed the steel structure apart to reveal the interior and disappeared when the Israelites began to congregate at the invasion of Babylonians. He reappeared when Nabucco claimed to be greater than God and pulled out a barrier while the monarch was punished by turning into a mad king. Towards the end he shut the structure when Abigaille was banished. 

Compare to the stage set of Lucia in previous evening merely as a backdrop, theatrically this production created the dramatic intensity and attentions to bring out the central theme of each scene. At the beginning, we saw a large erected moveable structure made by steel to represent the great walls of Jerusalem. The smoke effect coming from the top with stage lights created a dense and heavy atmosphere, which further attracted the audience curiosity to find out the secret behind the wall. Interestingly, the Israelites all wore black in the fashion of late 19th century except the Kohen, who wore Bukharan kippah but strangely a scarf instead of tallit with black stripes. Leaving the accuracy of religious clothing aside, the Jews here were portrayed as a close group that saw anyone did not turn to their belief as outsider, and men particularly as fanatics praying around the wall of a black room fervently, which was probably a reference to the temple of Jerusalem. The throne of Nabucco sat inside a watch tower with a stair and gold paint on the wall. The outlook stood out from the dark stage, also the simplistic and stylish appearance was effective than any attempt of historical replication of a throne room. The hanging ropes in the execution scene with Israelites sat in rows awaiting their death sentence sent down the emotion of fears and chilling atmosphere in an execution room. The key success I felt altogether was the seamless scene change that the gigantic sets could move in different ways without losing the dramatic flow, and the display of stage machinery was a spectacle that not many opera productions could manage. 

In this performance the male soloists were better than ladies with the singing. Dalibor Jenis's timbre had that darker tone colour than normal baritones that enhanced the vocal richness with a good projection. His musical phrasing was appropriately executed and one of those singers I would want to hear again in future. His physical outlook and acting also suited to the portrayal of Nabucco as a young and troubled monarch in this production. Liang Li was also looked ideal in the role of Zaccaria as priest to the Israelites. Good vocal projection and the singing was not forceful but pleasant as a bass. Francesca Mondanaro was a good actress by giving an intense display of conspirator claiming the throne of Nabucco for her own defence and the subsequent downfall as a rejected ruler. Though her singing deteriorated as the evening went on with intonation problem on high vocal register and not a voice to listen long. Attilio Glaser was better but her role had only one aria to showcase and did not make much an impression. The chorus delivered a heartfelt and beautiful account of the chorus of Hebrew slaves. Generally the choir was secured with intonation, lesser vibrato and delivered the body of sound to fill the house. Ivan Repusic was less controlling with his conducting than Filippo Sanjust. Even so, the orchestral playing did not lose any signs of energy, the tempo change between scenes were natural and not abrupt. The accompaniment never overpowered the singers in volume and being responsive to the conducting.

Review - Lucia di Lammermoor (Donizetti), Deutsche Oper Berlin, 16 October 2015

(Production photo from a previous performance in 2009)

Lucia - Pretty Yende

Enrico - Marco Caria

Edgardo - Yosep Kang

Arturo - Attilio Glaser

Raimondo - Marko Mimica

Alice - Irene Roberts

Normanno - Jörg Schörner

Chor & Orchester der Deutschen Oper Berlin

Conductor - Daniel Cohen

Director - Filippo Sanjust

Among all the opera productions I saw in Berlin, this staging of Lucia by Filippo Sanjust first premièred in 1980 was the most conventional. A predominantly older generations turned out in the audience was not a surprise. It was the kind of evening for connection to the past and 'comfortable' if one rather passive with theatrical experience. At the overture, we saw the painted image of a pale white Lucia in the midst of darkened cloud surrounded by stage curtains. An open field followed with rest of the scenes shown under the high ceiling with a gothic interiors. The clothing fashion was continental orientated at the time of 1600s but we hardly saw any kilt or tartans. The stage sets reminded me the bygone practice of using big cardboard historic informed sceneries, 'park and sing' stage choreography with relatively pale yellow dim lighting. 

(Production photo from a previous performance in 2009)

To put the debate of historical accuracy aside, which probably would go nowhere, scenic wise it might look grand as background, but it did not build the dramatic atmosphere connecting to the emotions and tensions as the opera progressed. The opening scene of Enrico and his knights congregated on an open ground was more a demonstration for rousing chorus than telling why Edgardo was so unwelcoming and revenge in atmosphere. Lucia and Edgardo meet up did not have that secretive impression with the yellowish stage lights maintained the same level throughout. Lucia argument with Enrico in a grand hall was more a vocal duet display than adding the tension and trauma of a disagreement. Edgardo forcing his way into the castle was the only dramatic part with swords displaying in mass and tension between rivalries and false jealousy. The stage light was so dim in the mad scene that one understood the focus was on Lucia dressing in white but none of the oppressed atmosphere when this poor woman was driven to madness, agony, hatred and eventually self destruction. Again Edgardo's suicidal last scene was more a routine display that did not connect devastation to action point, while the appearance of chorus around the royal tombs looked odd as a whole. These were not the fault of the principals or chorus as the dramaturg had made the best out of them being mobile and moved around as much as the choreography could allow, but the limitations of an outdated routine and concept. Thus, this production should have sent to storage in museum than staying on the repertoire list.

(Production photo from a previous performance in 2009)

Fortunately, the musical side was one of the best evenings I experienced this time in Berlin to compensate the theatrical disappointment and boredom. I never heard of Pretty Yende or Yosep Kang until this performance, and their singing made an outstanding impression, particularly in the mad scene and Edgardo's suicide. It is probably quite rare, to my knowledge and opera experience so far, that currently not many bel canto singers could match the purity and smoothness in tone like Yende and Kang. The singing sounded effortless and their timbre and tessitura fit into the part very well. Yende particularly had a beautiful timbre that very pleasant for the ears wanting to hear more. Appropriate coloraturas were employed and not overdoing. On terms of diction, I would say Kang was more Italianate than Yende and one did not need the surtitles to identify the words. Though Yende was more natural with acting and Kang seems too gentle for a passionate Edgardo. The only coordination issue Yende had was with Marco Caria, which the tempo in the duets was not quite together and resulted with hesitation. The flute solo in the mad scene was exquisitely played though I would still prefer the glass harmonica for that unique delicate tone colour. Daniel Cohen's tempo was the most robust among all the conductors I saw this trip and the orchestra was very responsive to his conducting. The orchestral playing kept a good momentum to build up the intensity throughout the evening that enhanced the connections between musical numbers. The only downside was came from the predominantly aged audience, when a sequence of coughing throughout the hall distracted the concentration on spell bounding singing during the mad scene. An update on the staging might have overcome all the problems I dare say.

(Yosep Kang in the front)

(Pretty Yende)

Review - Vasco da Gama/L'Africaine (Meyerbeer), Deutsche Oper Berlin, 15 October 2015

Vasco da Gama - Roberto Alagna

Selica - Sophie Koch

Ines - Nino Machaidze

Nelusco - Markus Brück

Don Pedro - Seth Carico

Chor & Orchester der Deutschen Oper Berlin

Conductor - Enrique Mazzola

Director - Vera Nemirova

This stylish new production of Vasco da Gama from Deutsche Oper had done justice to this underrated grand opera by Meyerbeer from his late years with many beautiful musical moments.

Nemirova's staging showcased the machinery and exotic elements of an operatic spectacle, which captivated the audience in 19th century, and examined the aspects of religious conservatism and cultural conflicts. On stage a large erectable platform in half moon shape surrounded by wooden structures alike a boat skeleton in the rear and small white ship sculptures at the front. The upright platform turned into a stylish atlas alike a starry night to echo the set period of the age of discovery, while Ines in an sailor outfit singing passionately her affection and longing the return of da Gama. Though we know from the costume of soldiers and council members that the Nemirova had forwarded the time into the later half of 20th century than 16th century. Da Gama was wearing a T-shirt and camping trousers alike a modern explorer than the painted figure with square beard and an overgown. At the royal council meeting we saw the grand inquisitor representing the conservative church figure with ultimate power. He rejected the suggestions of further exploration from Don Pedro and da Gama as heretic moves against the will of god, and exercised his authority to make the council condemned the returned explorer into jail with his slaves, the disguised Indian princess Selica and her servant Nelusco. The jail scene was where the usual complicated relationships evolved in many opera stories: da Gama missed Ines but she married Don Pedro to secure his release, whereas Selica was secretly in love with da Gama though not knowing her servant Nelusco was also in love with her. Towards the end we saw a group of foreign dressed people took the ship sculptures away and signifying the new exploration team to India under Don Pedro was underway.

My only reservation on Nemirova's execution of the first half was that many background details in the sung text could only express through singing but no demonstration theatrically. The tale of Da Gama past with Ines before leaving her for exploration to India, followed by being the only survivor of a shipwreck incident and returned to Portugal with Selica and Nelusco had a lot to tell. Olivier Py's production of Il Trovatore for Munich few years ago provided a fine example of how the present and past could be shown simultaneously with a grand stage set. I believe the change would make the theatrical presentation more interesting visually and a better understanding of the plot.

The staging and directorial approach eventually found its ground in act three and four, which were also the high points of this opera. The aspect of religious imperialism was dealt with in the choral scene of act three, where the chorus saw Selica was dressed/ made into a nun while singing their prayers to St Dominic. Some reviews were bewildered by the approach as the prayer asking for safe journey, but the saint himself had been debated whether being the first inquisitor of medieval time. Nemirova probably making an implicit reference that the exploration marked the European colonial conquest, particularly the difficult history of missionaries forcing the locals to abandon their beliefs and converted. The shipwreck scene and attacks by locals was another problematic corner in the original tale that such short changes could only happen in opera performances. I was in favour of the solution used in this production that the locals turned into terrorists with machine guns, a reference to the modern Somali pirates, and killed their captives to mark a stirring end of act three. The opening of act four was a spectacular display of tribal weapon dance with festive colourful floral garlands, a contrast to the solemn and gloomy court meeting early on in act one and two. Not much elaborate staging could be done in the last act as the three lead singers sang their long farewell arias, except the beautiful floral centrepiece and Selica in traditional dress marked herself out as the 'heroine' of the story to save the life of Da Gama and forgiving Ines, which spared them from the revenge of Nelusco. There was no definite stop in the ending as we saw the foreign dressed people brought Selica away and Da Gama walked across the stage looked as he continued his explorations.

The style of Meyerbeer's composition in this opera assigned many long beautiful arias for the protagonists but the heroic and dramatic moments left to the chorus. Roberto Alagna had fully recovered from the cold he suffered at the premiere and at the age of 52 his vocal quality had not diminished. I thought he sang rather well and suitable for this opera in French. His timbre also had grown with more warmth and darker compare to the silvery and bright tone during youthful years as Don Carlo I remember from a video recording. Sophie Koch was as good as she sang the role of komponist in Ariadne auf naxos I remembered last year in Vienna. Her projection and intonation was the best of all with the right timbre and tessitura for the role. Nino Macchaidze might not have a beautiful tone as Koch but she sang with smoothness without signs of strains. Although she was not always secured with intonation, the warmed up voice displayed the best side of her singing in act five. Their acting skills were fine and not static, which emphasised a lot of on the facial expression by showing the change of the emotion in the sung text. Seth Carico had a lovely baritone voice that being smooth and the richness in vocal colour, but made a lesser impression on acting even though probably not much he could do in the role of Don Pedro. Enrique Mazzola maintained a good musical direction in tempo and phrasing. Polished orchestral playing with good balance between parts. The tempo was more on a broad sense but not dragged. I would be happy to watch this opera again if changes will make to the production in future.