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London unattached, June 21, 2023 |
by Fiona Maclean |
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Massenet: Werther, London, 20. und 23. Juni 2023
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Werther – Royal Opera House Summer 2023 |
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Book to see Kaufmann in ‘Werther’ – leave wanting more of
Akhmetshina too. |
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What makes someone fall so deeply in love that they cannot envision a life
without the other person? When the eponymous hero of Werther, a young poet,
first sees Charlotte, a sweet-natured woman who is looking after her younger
siblings in a courtyard, sharing bread with them and taking on the role of
their mother, he is instantly entranced. She is beautiful, innocent and yet
maternal and capable. The setting, a village near Frankfurt, toward the end
of the 18th century, is peaceful, indeed the opera opens with the Baili
rehearsing his children to sing a carol. But, that is just a prelude to what
ensues.
Werther is based on the epistolary novel “The Sorrows of
Young Werther” by Johann Wolfgang von Goethe. It’s regarded as a
quintessential example of Sturm und Drang, a literary and cultural movement
that emerged in the late 18th century in Germany. Characterised by
individual subjectivity, intense emotions, and a rejection of societal norms
and conventions, the movement sought to explore the turmoil of human
experience. It was a reaction against the Enlightenment era’s rationality
and the constraints of social order and authority. This novel in particular
became immensely popular to the extent that ‘Werther Fever’ swept Germany
and Europe, with young men even dressing in the blue frock-coat, black boots
and buff waistcoats.
The opera, composed by Jules Massenet with a
libretto by Édouard Blau, Paul Milliet, and Georges Hartmann, premiered on
February 16, 1892, at the Imperial Theatre Hofoper in Vienna, Austria. This
production of Werther, directed by Benoît Jacquot (revival director
Geneviève Dufour) opened in 2004 and was last staged at the Royal Opera
House in 2019.
The story revolves around the character of Werther
(Jonas Kaufmann) and Charlotte (Aigul Akhmetshina). Despite his intense
feelings for Charlotte, Werther respects her commitment to marry Albert, the
man her dying mother promised her to, and suffers in silence, unable to be
with the woman he loves.
Last night’s performance saw an
overwhelming and impassioned performance from Aigul Akhmetshina, an ex Jette
Parker Young Artist, who took centre-stage with a stunning, lyrical mezzo.
In contrast, Kaufmann’s Werther was restrained, with elegance and immense
musicality, though at times he seemed to lack vocal power. Instead, inner
turmoil and melancholy were expressed through excellent dynamic contrast and
phrasing.
Supporting roles were all exceptional. Sophie, Charlotte’s
younger sister, played by Sarah Gilford, was a joyous free spirit, her
lyrical soprano easily soaring through ‘Frere! Voyez… Du gai soleil’.
Alastair Miles as the Baili was beautifully characterised, the doting
widower coaching his younger children to sing and caring for his older
daughters. He’s just reluctant enough to be convincing when he’s encouraged
to join Schmidt (Christophe Mortagne) and Johann (James Cleverton) for a
drink at the local inn. The bucolic duo were a charismatic pair who offered
their own insight into the storyline, vocally excellent with clear
pronunciation – even with my schoolgirl French I could follow most of what
they were singing without needing surtitles.
Albert (Gordon Bintner)
is the man Charlotte marries because she’s promised her mother to do just
that. Excellent vocal delivery with an apparent lack of awareness of the
depth of feeling between Charlotte and Werther offered the audience an
Albert who was suitably upright and straightforward. Massenet’s opera
was in part influenced by the work of Wagner and there are some fine
orchestral interludes in the work, last night performed magnificently by the
Orchestra of the Royal Opera House under the baton of Antonio Pappano.
Recurring and evolving musical themes pull the audience into Werther and
Charlotte’s world. It’s an intense and moving score that Pappano really
brought to life.
As the opera progresses, Werther’s emotional turmoil
escalates, leading to his eventual tragedy. Consumed by unrequited love and
despair, he decides to take his own life. The opera ends with Werther’s
death and Charlotte’s realisation of her true feelings for him.
Kaufmann’s measured vocals were always present and most evident in the
evocative delivery of his Act II soliloquy ‘L’amour que j’ai pour elle
n’est-il pas le plus pur comme le plus sacré’ and in his final reunion with
Charlotte. In ‘Pourquoi me réveiller’ his passion was finally released
Akhmetshina’s Charlotte soared throughout the house and her “Va! Laisse
couler mes larmes” was a show-stopping moment, one that must lead us to
anticipate great things to come. She is a true diva, with her immense
potential recognised through a standing ovation at the end of last night’s
performance.
This production of Werther relies on simple classic
staging from Charles Edwards for most of the opera, who is also responsible
for the creative lighting. It’s not a new staging, but the vast sky of the
second act is a simple device which adds to the emotional intensity. And, he
deserves plaudits for the lighting and set for Act 3 with its painterly
interior and for the stunning opening to Act 4 as the blacked-out stage is
punctuated by falling snow with Werther’s distant garret zooming into focus
at the front of the stage. Costumes by Christian Gasc are elegant and
effective. For the most part, though, this is an opera which relies on the
music and acting rather than on complex staging devices. It’s the first
time in many years that I’ve come away from the Royal Opera House so
overwhelmed by the orchestral playing. While there are moments for the
singers which are truly tear-jerking, in last night’s production, the band
led by Pappano was as much the star of the moment as Werther and Charlotte.
Kaufmann’s Werther was expressed through a considered musical
interpretation, albeit at times overwhelmed by Akhmetshina’s lyrical and
dramatic performance.
A memorable evening – and one you should see
for yourself. As my colleague said in a previous review
‘If doomed
romance combined with great singing is your thing then you should see
Werther. The Werther character has had a huge impact on our culture and
Massenet’s opera presents the story in an accessible and moving way.’
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