Review - Tannhäuser (Wagner), Konzert Theater Bern, 8 April 2017

Tannhäuser - Daniel Frank
Wolfram - Jordan Shanahan
Elisabeth - Liene Kinča
Venus - Claude Eichenberger
Hermann - Kai Wegner
Biterolf - Andreas Daum
Heinrich - Ralf Simon
Reinmar - Carl Rumstadt
Junger - Emilie Inniger

Chor und Extrachor Konzert Theater bern
Berner Symphonieorchester
Kevin John Edusei (Conductor)
Calixto Bieito (Director)

Tannhäuser is probably Wagner's dilemma on nature of love than a search on whether love can bring salvation. The struggle between sensual pleasure and moral codes has led to an open end as what form of redemption is achieved at the end. Bieito's thought provoking staging woven this binary context and reach a plausible outcome that the two sides come together eventually. A realist approach to realise the violence and rejection that social power put in place whereas the outcasts suffered from the confrontation. It made the impact of sufferings more powerful and disturbing the same time, when one could detect the pain and madness being culminated in full. The journey that Tannhäuser embarked on no longer easily distinguish good or bad, but the experience of loss being out of place while yearning for behavioural freedom.

Instead of the cliche that Venusberg being erotic and colourful, a dark and misty forest formed the opening scene in the overture with trees spinning around. Venus touched herself erotically at first and then sprinkled water on her body as the music became increasingly sensual. She was possessive of Tannhäuser, and their emotional affection was genuine and raw by further erotic contacts. Here Bieito perceived the relationship alike cruising in the park while trees seems metaphorically represented the sexual organs. Venus disappeared when the pastoral call was played by the cor anglais, a shepherd

climbed on the protagonist and the purity image became an ongoing burden. Tannhäuser was later bullied and mocked by the minnesingers from Wartburg. They were presented as a rough militia by painting themselves with blood and roaring loudly to reinforce their manhood. When Wolfram mentioned Elisabeth, Tannhäuser was seen as troubled by the name and uncomfortable to stay around the minnesingers. Their rough edge behaviours and wildness realised Venus's prediction that Tannhäuser would struggle to return to society.

A Greek temple with tall columns made the interior of Wartburg's castle in act two. Elizabeth's reception of Tannhäuser was a mixed affair. She shared his dislike of the pretentious and male dominated crowd in their fine outlook and robotic movements. Instead of wearing the beautiful dress and high heels, she would rather put on his oversized military uniform. She too had a rebellious personalities and that suggested why she could relate to Tannhäuser. Though at first she refused and pretended not to accept his attempt of reconciliation since disappearance. Wolfram showed his jealousy towards the couple even he had to rely on Tannhäuser in order to see Elizabeth again, who rarely seen in public. He was in agony when she continued to defend Tannhäuser from condemnation. The crowd were horrified and angry when Tannhäuser praised the sensual love and took off the suit he was wearing. They behaved increasingly demonic and put blood on their faces again. Elizabeth was raped by the minnesingers and they spanked the ground with tree branches frantically. Like his production of La Juive, Bieito referenced the act to the biblical tale of purifying the temple in Jerusalem by expelling the traders however violent and brutal. Theatrically it was intense and made the social hostility to Tannhäuser more poignant.

Dramaturgy and symbolism in third act was most enigmatic and mysterious of all. A ruin of the temple remained and gradually consumed by the forest with a water fall. Elizabeth and Wolfram were more exhibited over their eccentric love and hate relation. They exchanged affections but quickly rejected each other again. Elizabeth became mentally unstable and even attempted to self harm. Wolfram watched her from distance at first and later tried to strangle her. He also became aggressive and confronting as Tannhäuser reemerged. When Venus reappeared, Wolfram first climbed into the water pond before putting dirts on his body. His act seems also a personal dilemma between physical love and self righteous. Later the crowd entered the court as Tannhäuser calling the name of Elizabeth. They appeared like ghosts and the final praise of redemption became an irony itself as they pleaded in desperation. Perhaps Bieito felt the final act was an imagination when the two ideological camps came to term and they decided to go after the spiritual satisfaction. Aggression and conformity vanished at last but not Venus the seductive figure nor Elizabeth the spiritual fountain. An undecided outcome and one could only make the choice through a journey like the one experienced by Tannhäuser.

The orchestra continued to deliver quality accompaniment throughout the evening and kept the music flowing with momentum and shapes. Brass made a confident and bodied sound at the overture, later beautiful woodwind playing during the lush and romantic interlude in act three. I was surprised that some of the singers, like Carl Rumstadt who sang the role of Figaro the evening before, filled the minor roles or even sang in the chorus for Tannhäuser. Big choral moments always carried the sheer impact of the sound of wall and filled the hall in full. Diction was clear and the singing was rather clean with minimal vibrato. Singers in minor roles met the technical challenge in the thick vocal layer and sustained a dramatic sense throughout.

Daniel Frank accurately portrayed the protagonist as an emotional and vulnerable figure. The recalling of Elizabeth in last act was particularly effective that captured Tannhäuser's dilemma between affection and physical pleasure. His timbre was rather dramatic in colour but lyrical enough not to lose the warmth in tone. Tuning was always secured and the voice never strain even reaching at higher register. I encountered Liene Kinča as an impressive Chrysothemis in Elektra at the Flemish Opera few years ago. A powerful voice with a rather bright and silvery timbre with great energy to sustain a long singing line. Though her singing was more able to realise the tenderness later at Elizabeth's prayer than the lyrical opening of act two. Jordan Shanahan, as Wolfram, sang majestically in a rich bodied tone. His sense of phrasing maintained a natural flow in tempo and legato enough to connect the lines seamlessly. Wolfram's prayer to stars and Venus in act three was romantic and poured out emotions in full. Claude Eichenberger's voice suited better to the role of Venus than Marcellina the evening before. Phrasing was natural and more able to project her rich voice smoothly. As a whole, the renovated opera house with comfortable seats and well maintained interiors added another attraction for future revisit on top of the high music standard.

Review - Le nozze di Figaro (Mozart), Konzert Theater Bern, 7 April 2017

Count - Todd Boyce
Countess - Evgenia Grekova
Susanna - Lee Yun-Jeong
Figaro - Carl Rumstadt
Cherubino - Eleonora Vacchi
Marcellina - Claude Eichenberger
Bartolo - Stephen Owen
Don Basilio - Andries Cloete
Don Curzio - Andres Del Castillo
Barbarina - Daniela Ruth Stoll
Antonio - Kai Wegner

Chor Konzert Theater Bern
Berner Symphonieorchester
Jochem Hochstenbach (Conductor)
Markus Bothe (Director)

Despite some spectacular demonstrations of stage machinery and effects in Markus Bothe's production of the marriage of Figaro, the dramaturgy centred heavily on the chaotic and complicated relationships yet retained the comical aspects. Rivalry between the aristocrat and their social subordinates did not become apparent until the garden scene in the last act. This left an impression that the stage direction lacked some level of depth by a near literal portrayal, instead of articulating the political and social changes pressed by enlightenment.

The overture gave a kaleidoscope of the key figures and set the opening scene alike the television drama 'Upstairs Downstairs'. They climbed up and down the ladders between two rooms or appeared from the doors on the ground. Interestingly except Susanna and Figaro in servant outfits from early 20th century, the rest still wore powdered wigs and fashioned to the early 18th century. Generation gap was exemplified by fashion changes but it would require the stage choreography to reinforce the ideological conflict than merely a visual impression. An example would be the count, who wore silk coat to symbolise his status, as a naive figure in this hide and seek game, though far from portraying an authority failed to preserve and exercise his feudal rights. He was also soft with Figaro that only frustrated than raged over the growing mistrust after attempting to seduce Susanna.

The countess bedroom scene looked rather chilling by the displayed cold coloured dresses and tired stage lights. It captured the countess's loneliness in a loveless marriage though omitting the emotional torment over her husband's infidelity. A warmer light scheme returned when Susanna and Cherubino entered the room. Although the latter was a pant role, the flirting over serenade became rather like a lesbian threesome affair. Later confusions was dramatically unfolded as the count tried to trap everyone in further hide and seek chasing. The best moment was the flood of shoes collapsed when the count opened the cupboard to discover Susanna but not Cherubino hiding in there. Though it was rather straight forward to find the countess reconciled with the count quickly neither did she put much efforts to stop the forceful advance. The portrayal did not inject much character to the role than only a weak and submissive wife. Even so, intensity was able to kept tightly during the exchange between Figaro and the count on Cherubino's commission letter while confronting with Antonio. One could sense the sheer tension gathered up by the chaos in its fullness sense at the brilliant sextet conclusion of the first half.

Compare to the first half as a playground of confusion, hostility was more apparent in the second half. The count was furious by Susanna's further betrayal and confronted Figaro over the marriage arrangement than only being tossed around by actions. In turn, Figaro was anguished by the count's further distrust and vicious plot. He was still upset after the wedding and even angry at Marcellina even recognised she was his actual mother. The party itself made another statement that the class distinction no longer clearly defined, and the aristocrats gradually losing the respect and courtesy from the household.

One high point of this production was the confetti celebrating the marriage later formed the garden maze in the final scene with long colourful strips. Visually it was effective from the audience perspective, though singers had difficulty to manoeuvre around in their long dress. The finale was appropriately not a jubilant celebration and the count lost his plot altogether even the countess forgave him, who probably the only one left had a soft spot for his misdeeds. Both minor roles, Barbarina and Don Basilio, were also given more perspective in this production. The former appeared throughout and she not only flirted with Cherubino, but also the count even he rejected her wild advance. Basilio wore a flamboyant outfit and acted as a key player in first half trying to side with anyone who ever came to his interest in revealing scandals.

One was amazed by the high musical standard from both singers and orchestra at first hearing. Carl Rumstadt, as the protagonist, delivered a confident start for being clear on diction and a resonated voice with the desired warmth and vocal body.  His singing had the flexibility to realise the emotion changes in each arias through switching vocal colour, and phrased the music naturally. Perhaps tiredness sunk in towards the end of the evening and his vocal energy was not as sustain as before. Lee Yun-Jeong, who sang the role of Susanna, improved immensely as the evening went. Mostly vowels were audible in the opening entries even  with a beautiful timbre and smooth articulation to keep a flowing momentum. Later the singing carried the ringing tone more and the voice never show any sign of tiredness. Register changes were smooth and flexible, also paced the tempo naturally.

Todd Boyce, as count, was rather muddy in diction and portrayed the role as a naive figure at first. He gradually built up the character over arguments with the countess in act two and plotting for revenge in act three. His singing became more dramatic to convey the emotions and richer in vocal colour to add the weight as a bass-baritone. Musically the weakest link of the evening was Evgenia Grekova who sang the role of countess. She preferred a slower tempo but the voice was rather thin in body that did not carry much direction. During her duets with the count or Susanna, her projection was often underweight compare and the vocal energy faded gradually in the second half. Heavy vibrato and rather closed way of singing vowels did not help her singing to keep the pitch level from going flat.

Among the minor roles, Andries Cloete's Don Basilio was most suited in terms of timbre and characterisation. Despite not a beautiful voice, his singing was smooth and flowing throughout the only extended aria in act one. Eleonora Vacchi's Cherubino was a mixed affair that tuning went flat in the text heavy passage and the voice was more projected only by reaching the higher register. Her vocalisation improved during the serenade to the countess but tempo was too quick for my taste. Daniela Ruth Stoll was more audible in the recitative than Barbarina's only aria in the second half. Claude Eichenberger as Marcellina had a rich powerful voice but at times one felt the vocal body too big and rich for the part. Stephen Owen was rather heavy on vibrato in the role of Don Bartolo and often speaking than singing his part. The orchestral playing was generally crisp, tidy and responsive to the direction of Jochem Hochstenbach. Only the brass was occasionally flat on tuning and sluggish. There were no moment I felt dull and a surprise to find such a capable ensemble from a regional opera company.