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Opera Now, July/August 2015 |
Courtney Smith |
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Beethoven: Fidelio, Teatro alla Scala, Milano, 10. Dezember 2014 |
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Fidelio - La Scala
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The inauguration of La Scala's 2015/16 season last December brought a new
staging of Beethoven's Fidelio by Deborah Warner. All the usual suspects
were in attendance: yawning politicians, bejewelled Milanese grandees and
chanting protesters silenced by heavy-booted police. The production served
as Daniel Barenboim's swansong as La Scala's music director (since 2011), as
well as induction of the new general and artistic director, Alexander
Pereira, who succeeded Stéphane Lissner last September.
Warner's
staging alluded to landscapes of destruction and dilapidation of the 21st
century, especially the man-made traumas in a post-9/11 world. Chloe
Obolensky's sets were grim shelters dug into post-apocalyptic voids. Act I
took place in a detention centre surrounded by brick walls, crumbling
concrete and exposed metal. Act II moved the action to a frigid,
subterranean wasteland, strewn with toppled concrete. Costumes had
institutional overtones: combat boots, utilitarian jumpsuits, pragmatic
denim and flannel work-shirts. Jean Kalman's atmospheric lighting cast cold,
unforgiving washes over the stage, with beams of light cleaved into sinister
shafts or delivered as dramatic coups.
Mellow and flexible in her
singing, Anja Kampe's Leonore managed to effect a convincingly masculine
air, bulked up in a navy jumpsuit and ribbed wool cap. In her quest to find
her lost husband, she transformed herself from an aloof industrial workman
to a heroic freedom fighter, wielding a pistol and bolt-cutters (to free
Florestan from his chains).
Rocco (meticulously sung by Kwangchul
Youn, dressed in a Fair Isle sweater and carrying a thermos of vodka) was
infused with humanity. His kittenish, feisty daughter Marzelline (Mojca
Erdmann, vocally pleasant and unfussy) gave a round slap across the cheek to
sullen, impudent Jaquino (an engaging Florian Hoffmann). Peter Mattei made a
compelling and authoritative Don Fernando. For the second performance, none
other than Jonas Kaufmann stood in for Klaus Florian Vogt's ailing
Florestan. The audience was treated to his lustrous, charismatic tenor voice
whose beautifully focused pianissimo pierced the darkness of this
production's netherworld.
Fat on beauty and transcendence, but thin
on agitation and energy, Barenboim gave us a serene, rather buttoned-up
interpretation, from the leisurely pace of the Leonore Overture No 2 through
to the buoyant finale.
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