Rachel - Aleksandra Kurzak
Éléazar - Roberto Alagna
Prince Léopold - John Osborn
Princess Eudoxie - Vera-Lotte Böcker
Cardinal Brogni - Ain Anger
Ruggiero - Johannes Kammler
Albert - Tareq Nazmi
Choir and Orchestra of the Bavarian State Opera
Bertrand de Billy (Conductor)
Calixto Bieito (Director)
Bieito's staging of 'The Jewess', arguably Halévy most successful opera at his time, focuses on group/cult intolerance than merely a religious conflict. The employment of a big wall, alike the Israeli West Bank barrier, as the prominent stage set could be controversial by its intention and might perceive not sympathetic to the political reasoning. Though the wall is not a random thought but a reference of the palace wall mentioned by Eudoxie in act three, when she anxiously discovering the secret affection between Rachel and Léopold. It is also the object serves as a metaphorical representation of the western wall in Jerusalem, but without any explicit religious symbolism at the Passover scene. The physical appearance of concrete planks marks architectural brutalism that neither inviting and chilling as the prison cell in act four. When the biblical tale of Christ throwing traders from the temple is being mentioned, the crowd beat Éléazar with holly in act one, and later in act three humiliate Rachel by throwing at her torn pages of the bible. The crowd homogenous appearance in dark coloured wearings and are blindfolded make them blind followers of order with hatred against outsiders. Ongoing hostility, religious extremism and tragic consequences lead to further misunderstanding, which indirectly reflect the current difficult situation of the middle east. Thus, the wall indirectly stands as a symbol to mark violence and conflicts as its witness.
I do not think Bieito is particularly after judgmental debate, but questions the dilemma of whose are the oppressors/prosecutors and their victims. First the general public repeatedly humiliates Éléazar with accusations and even beating him, he later revenge not to reveal the true identity of Rachel, until Brogni mistakenly has his actual daughter burnt to death in the cage. Both men experience their loss but Brogni seems more sympathetic and attempt for reconciliation than Éléazar. The cardinal told the crowd to stop mocking the jew and touchingly washes his feet to beg revealing the truth. Though his position also makes himself to condemn and excommunicate Léopold, whip Rachel with a rope and execute her. One would sympathise with Éléazar of his treatment by the crowd, but not his accusation of Léopold, making profit from selling jewellery to Eudoxie, and refuses to make peace with the Brogni. The implicit moral message here is probably that taking the advantage of past sufferings and general sympathy on racial identity, but unwilling to do good nor attempt to repair the damage, do not invite future reconciliation nor forgiveness.
Rachel is the ultimate victim but not a straight forward portrayal with strangeness. She cannot stand the singing of Te Deum at the beginning as if an annoying voice troubles her mind. While the crowd humiliates Éléazar, she crawled around the stage and mop the ground for whatever reason before facing the wall. I am not sure whether she is probably too frighten to halt the violence, or this is all a nightmare and feels being trap within the situation. Though in act two she displays more inner emotions and humanity by trying to reconcile Léopold and Éléazar. The video projection image of her being push to the ground at the opening of act three foretells her tragic end. Her rage at Eudoxie and reveals the affection with Léopold have turned against her innocence. The finale is highly dramatic and moving to see her hairs being cut before burnt in the cage, alike a lamb being slaughtered as the video projection demonstrates.
As a whole, message of the moment interest Bieito to display in full, especially for intellectual stimulation and interest, but I am not sure whether it has always produced a coherent tale and some unanswered corners. The blindfolded crowd, as fervent religious cult, force children in white to perform baptism. Albert shows signs of hesitation and his head is pushed into a water bucket by a spectator. One understand an adult is more unwilling to convert than a child with no choice but to obey, though how that relate a person from a different faith background suppress by the dominant power is unclear. Brogni as religious leader can tell the crowd to stop the attacks on Éléazar, but here seems far from showing the superior authority he holds and assuming everyone have an underlying social rule. His relation with Rachel is also awkward that being sympathetic and protective in act one, but later whips her when she rages at Eudoxie of her jewellery to Léopold. Both Eudoxie and Éléazar have blood on their hands after putting inside the wall holes, but I cannot tell whether metaphorically showing they indirectly trigger the execution of Rachel or not.
When Eudoxie bags Rachel at the prison scene to save Léopold but both love and hate each other in the same time, Aleksandra Kurzak sings with a wonderful sense of phrasing, breath control, projection and sits comfortable with the tessitura. She is emotional and passionate at Rachel's confrontation of Léopold at the Passover scene up to their love vow. A dramatic characterisation of her being a vulnerable woman desperately wants to receive the trust and faith of her affection from the disguised prince. Though her top notes are not always secure with intonation and some tuning issues during the trio pleading for reconciliation. Brilliant singing from Vera-Lotte Böcker with her effortless coloratura and clear diction. Ain Anger occasionally lacks the vocal colour of a bass with a more baritone like timbre. Roberto Alagna's timbre is rather unique and not much of warmth in tone. His aria on recalling Rachel's past and negotiating with his conscience is not always secure. He struggles to sustain the line and sounds strain as the vocal range goes up. The vocalisation seems lost and hear the words being said more than sung. John Osborn's singing is rather underwhelming in projection even on the microphones and probably the weakest among all the principals. Wonderful choral singing that made a big impact with the sheer body of sound. As always Bertrand de Billy is able to draw a dramatic rendition from the orchestral playing and displays the music brilliancy at its fullness.
Éléazar - Roberto Alagna
Prince Léopold - John Osborn
Princess Eudoxie - Vera-Lotte Böcker
Cardinal Brogni - Ain Anger
Ruggiero - Johannes Kammler
Albert - Tareq Nazmi
Choir and Orchestra of the Bavarian State Opera
Bertrand de Billy (Conductor)
Calixto Bieito (Director)
Bieito's staging of 'The Jewess', arguably Halévy most successful opera at his time, focuses on group/cult intolerance than merely a religious conflict. The employment of a big wall, alike the Israeli West Bank barrier, as the prominent stage set could be controversial by its intention and might perceive not sympathetic to the political reasoning. Though the wall is not a random thought but a reference of the palace wall mentioned by Eudoxie in act three, when she anxiously discovering the secret affection between Rachel and Léopold. It is also the object serves as a metaphorical representation of the western wall in Jerusalem, but without any explicit religious symbolism at the Passover scene. The physical appearance of concrete planks marks architectural brutalism that neither inviting and chilling as the prison cell in act four. When the biblical tale of Christ throwing traders from the temple is being mentioned, the crowd beat Éléazar with holly in act one, and later in act three humiliate Rachel by throwing at her torn pages of the bible. The crowd homogenous appearance in dark coloured wearings and are blindfolded make them blind followers of order with hatred against outsiders. Ongoing hostility, religious extremism and tragic consequences lead to further misunderstanding, which indirectly reflect the current difficult situation of the middle east. Thus, the wall indirectly stands as a symbol to mark violence and conflicts as its witness.
I do not think Bieito is particularly after judgmental debate, but questions the dilemma of whose are the oppressors/prosecutors and their victims. First the general public repeatedly humiliates Éléazar with accusations and even beating him, he later revenge not to reveal the true identity of Rachel, until Brogni mistakenly has his actual daughter burnt to death in the cage. Both men experience their loss but Brogni seems more sympathetic and attempt for reconciliation than Éléazar. The cardinal told the crowd to stop mocking the jew and touchingly washes his feet to beg revealing the truth. Though his position also makes himself to condemn and excommunicate Léopold, whip Rachel with a rope and execute her. One would sympathise with Éléazar of his treatment by the crowd, but not his accusation of Léopold, making profit from selling jewellery to Eudoxie, and refuses to make peace with the Brogni. The implicit moral message here is probably that taking the advantage of past sufferings and general sympathy on racial identity, but unwilling to do good nor attempt to repair the damage, do not invite future reconciliation nor forgiveness.
Rachel is the ultimate victim but not a straight forward portrayal with strangeness. She cannot stand the singing of Te Deum at the beginning as if an annoying voice troubles her mind. While the crowd humiliates Éléazar, she crawled around the stage and mop the ground for whatever reason before facing the wall. I am not sure whether she is probably too frighten to halt the violence, or this is all a nightmare and feels being trap within the situation. Though in act two she displays more inner emotions and humanity by trying to reconcile Léopold and Éléazar. The video projection image of her being push to the ground at the opening of act three foretells her tragic end. Her rage at Eudoxie and reveals the affection with Léopold have turned against her innocence. The finale is highly dramatic and moving to see her hairs being cut before burnt in the cage, alike a lamb being slaughtered as the video projection demonstrates.
When Eudoxie bags Rachel at the prison scene to save Léopold but both love and hate each other in the same time, Aleksandra Kurzak sings with a wonderful sense of phrasing, breath control, projection and sits comfortable with the tessitura. She is emotional and passionate at Rachel's confrontation of Léopold at the Passover scene up to their love vow. A dramatic characterisation of her being a vulnerable woman desperately wants to receive the trust and faith of her affection from the disguised prince. Though her top notes are not always secure with intonation and some tuning issues during the trio pleading for reconciliation. Brilliant singing from Vera-Lotte Böcker with her effortless coloratura and clear diction. Ain Anger occasionally lacks the vocal colour of a bass with a more baritone like timbre. Roberto Alagna's timbre is rather unique and not much of warmth in tone. His aria on recalling Rachel's past and negotiating with his conscience is not always secure. He struggles to sustain the line and sounds strain as the vocal range goes up. The vocalisation seems lost and hear the words being said more than sung. John Osborn's singing is rather underwhelming in projection even on the microphones and probably the weakest among all the principals. Wonderful choral singing that made a big impact with the sheer body of sound. As always Bertrand de Billy is able to draw a dramatic rendition from the orchestral playing and displays the music brilliancy at its fullness.
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