la scala: superb peter mattei, disappointing netrebko in elegant barenboim don giovanni

Don Giovanni, La Scala, December 2011. Production: Robert Carsen. Conductor: Daniel Barenboim. Cast: Peter Mattei (Don G), Bryn Terfel (Leporello), Anna Netrebko (Donna Anna), Barbara Frittoli (Donna Elvira), Kwangchoul Yun (Commendatore), Giuseppe Filianoti (Don Ottavio), Anna Prohaska (Zerlina), Stefan Kocan (Masetto).

The opening is entirely stunning: As the initial two chords of the ouverture fill the auditorium, Peter Mattei runs up the middle aisle and onto the stage where he pulls town the red velvety curtain to reveal a gigantic mirror, reflecting the entire audience: We are (again I am tempted to say), spectators to our own lives.

Robert Carsen clearly loves this sort of theatre-within-theatre concept, which he has previously used in several productions such as Tosca, Contes d´Hoffmann and L´incoronazione di Poppea, just to mention a few. A concept often more exciting on paper than in reality, it does not seem too imposing here where the production, nevertheless, is very elegant, kept mostly in black, gold and dark velvety red colours.

Don Giovanni is a free spirit. Neither malign nor cunning. Just a man, who lives every moment to the fullest. Perhaps this is why he is the last one standing on stage, while the others characters descend into hell in the end. Live life to its fullest! This Don Giovanni certainly has Robert Carsen´s sympathy. And ours as well, not least due to Peter Mattei, who is, in my opinion, quite simply the best Don Giovanni on stage today, with his smooth, direct approach, his beautiful,  beautiful voice as well as his lofty, charming and ultimately very captivating stage manners.

In general, all the singers are from the A-list and probably the best Don Giovanni cast name-per-name one could dream of assembling. Not all live up to expectations, though. However, the two mail protagonists certainly do and Bryn Terfel equals Peter Mattei in what is in one of his best roles. Terfel has always been a much better Leporello than Don Giovanni, Leporello being his own favourite as well. A rather rough, clumsy character, never failing to catch the eye and his bass-barytone contrasts well with Peter Mattei´s barytone.
This time, the ungrateful part of Don Ottavio is left with Giuseppe Filianoti, who does well without exactly distinguishing himself, though Mozart did not help him much by giving him two entirely placid arias to sing as well as some uninteresting recitatives.

Donna Anna is one of the roles that launches the international career of Anna Netrebko. In this production, she clearly loves Don Giovanni but feels obliged to hide her relation with him after the murder of her father. However, she disappoints, mostly vocally, being frequently off tune and sounding murky. I very much doubt we will see much more Mozart from here in the future.

Barbara Frittoli, replacing  Elina Garanca, was a fluttery, nervous Donna Elvira and though she wasn´t exactly a weak link, and definitely better than recently heard at the Metropolitan Opera, the role does not seem to lie well for her.

Up-and-coming Anna Prohaska and Stefan Kocan were sufficiently engaging as Zerlina/Masetto while I would have preferred a much blacker sound for the Commendatore than what Kwangchoul Yun possesses.

Daniel Barenboim´s relationship with Don Giovanni began in 1953 when he assisted the cembalist in a run of Furtwängler-conducted performances. Thus it should comes as no surprise that Barenboim conducts in the style of Furtwängler and Klemperer, lightyears from the period-specific approaches some may prefer today. Not me, though.  About 5 years ago in Berlin, Daniel Barenboim conducted the best Don Giovanni I have ever heard live and again here at La Scala his broad, slow tempi and his unfailing sense of the contrapunctual elements of the score was thrilling. 

Final scene (beginning):

The bottom line (scale of 1-5, 3=average):

Peter Mattei: 5

Bryn Terfel: 5

Anna Netrebko: 3

Barbara Frittoli: 4

Giuseppe Filianoti: 4

Anna Prohaska: 4

Stefan Kocan: 4

Daniel Barenboim: 5

Robert Carsen´s production: 5

Overall impression: 4-5

the top 10 opera singers of today

renée fleming

anna netrebko

angela gheorghiu

anja harteros
joyce didonato

elina garanca
juan diego florez

jonas kaufmann

dmitri hvorostovsky

rené pape

1. 2nd revision of list on March 7th 2012, where plácido domingo is replaced by anja harteros. next to go are a) dmitri hvorostovsky if he does not improve upon his singing or b) angela gheorghiu if she does not expand her repertoire.
2. 1st revision June 17th 2012 after thorough deliberations, where waltraud meier and karita mattila from the initial list have been replaced by joyce didonato and juan diego florez.

Although there is most certainly always a subjective element to any top 10 list, the size of the singers career and popularity are important parameters alongside vocal quality.
My entirely subjective top 10 list below (random order):

eva-maria westbroek
anne schwanewilms (mainly in lieder)
waltraud meier
anna caterina antonacci
magdalena kozena (lieder and concert mainly)
karita matila
jonas kaufmann
peter mattei
gerald finley
rene pape

Salzburg Iolanta and Rossignol with Anna Netrebko and plenty of Russian talents

Rossignol/Iolanta double bill. Concert performance. August 15th, Grosses Festspielhaus, Salzburg.
Ivar Bolton conducts the Mozarteumorchester Salzburg. Performers: Julia Novikova, Julia Lezhneva, Antonio Poli, Andrei Bondarenko (all Rossignol), Anna Netrebko, Piotr Beczala, Alexei Markov, Evgeni Nikitin, John Relyea u.a.

What most will not find surprising:

• That Iolanta is a role perfectly suited to Anna Netrebko´s darkly coloured soprano, and Tchaikovsky´s somewhat squared phrases suit her perfectly
• Though Piotr Beczala by all means did well, he was pulverized by Netrebko, both dramatically and vocally, especially in the duet. That he used the score, as opposed to her, did not help either

Otherwise:

• Alexei Markov (Robert in Iolanta) was stunning and deservedly received the biggest ovation of the evening (Netrebko excluded)
• Also in live concerts(as opposed to on DVDs) John Relyea comes off as wobbly and shaky, but he gets point for his acting and for having learned the part by heart
• Julia Novikova (the nightingale) has a too big vibrato especially in the middle register, preventlng the Nightingale from sounding truly beautiful
• On the other hand Julia Lezhneva was impressive as the cook
• Andrei Bondarenko, the newly appointed winner of the Song prize at the Cardiff Singer of the World competition, whom many felt should also have won the main prize, used his warm lyrical barytone to portray the Emperor of China.
• Both Evgeni Nikitin and Antonio Poli mad the most of their relatively small parts

The Anna Netrebko show hits Copenhagen

Anna Netrebko and Massimo Giordano in Copenhagen. September 19th, 2009. Emmanuel Villaume conducts the Danish National Radio Symphony Orchestra.

As part of a minor tour, Anna Netrebko and Massimor Giordano visited Copenhagen, complete with pre-printed programme. Netrebko´s first-ever visit in Copenhagen.

The exact happenings of the concert is described in detail here, suffice to say that this was an Anna Netrebko show, in the best sense of the word. Yes, and Massimo Giordano was also there, and he made a great contribution, both with fine individual singing and as a convincing partner to Anna Netrebko. However, most people had bought their exorbitantly priced tickets expecting a solo Anna Netrebko concert as Massimo Giordani was only listed at a later point. However, these things hardly mattered as both were rather entertaining on stage, jumping in and out, Anna Netrebko trying to play the harp etc. And, being Anna Netrebko´s birthday, the orchestra played her a birthday song and champagne was opened.

On top of this, she was in fine voice as well, which seems to get bigger and bigger. No, she may not always be exactly on pitch, and no, I really am not to bothered with it, as she has a direct expression to her singing which is rather extraordinary. That said, I still do not think Lucia di Lammermoor shows her at what I imagine would be her best. Nor does the operetta excerpt. But as Tatiana (Eugene Onegin) I would imagine her to excel.

An Anna Netrebko show for the people. In the best meaning of the word.

Overall impression:

5


Program:

Gounod: Overture from Roméo et Juliette
"Va! Je t´ai pardonné... Nuit d'hyménée" from Roméo et Juliette, Netrebko/Giordano
Verdi: Overture from Nabucco
Donizetti: "Regnava nel silenzio" from Lucia di Lammermoor, Anna Netrebko
Donizetti: "Una furtiva lagrima" from "L´Elisir d´Amore", Massimo Giordano
Donizetti: "Caro elisir!" from L'Elisir d'Amore",Netrebko/Giordano

Intemission

Arditi: "Il bacio", Anna Netrebko
Tosti: "L'alba separa dalla luce l'ombra", Massimo Giordano
Tchaikovsky: "Polonaise" from Eugene Onegin
Piotr I. Tchaikovsky: "Kuda, Kuda" from Eugene Onegine, Massimo Giordano
Dvorak: "Song to the moon" from Rusalka, Anna Netrebko
Puccini: "Intermezzo" from Manon Lescaut
Puccini: "Che gelida manina" from La Bohème, Massimo Giordano
Puccini: "Si, mi chiamamo Mimi" from La Bohème, Anna Netrebko
Puccini: "O soave fanciulla" from La Bohème, Netrebko/Giordano

Extras
Franz Lehar: "Meine Lippen, sie küssen so heiss", Anna Netrebko
"Core'ngrato", Massimo Giordano
"Brindisi" from La Traviata, Anna Netrebko and Massimo Giordano

Anna Netrebko: Souvenirs

Anna Netrebko: Souvenirs. Released November 2008 by Deutsche Grammophone. Further information here.

18 short tracks from the lighter end of the operatic and song repertoire, is what Anna Netrebko presents on Souvenirs, her fourth solo-album from Deutsche Grammophon. A website dedicated to the album may be accessed here.

As always, when such a wide variety of repertoire is presented, the quality is rather varied, as well.

Anna Netrebko´s dark-voiced soprano and straight-forward singing clearly seems best suited to the Slavian and Russian repertoire, as evident in the songs of Rimsky-Korsakoff and Dvorak, the highlights of this disc.

Most of the other repertoire on this disc doesn´t really suit her voice. Such as the songs of Richard Strauss, where the essential soaring quality escapes her; the Baccarolle from Hoffmann, where Elina Garanca actually makes the more convincing impression; the various operetta excerpts stretching her middle register to the limit and exposing an incipient unpleasant wobble.
Ideally, Deutsche Grammophon would focus their attention on what Anna Netrebko does best, such as the Russian-Slavian repertoire. Though it may be argued that on her best solo album to date - The Russian Album with Valery Gergiev, they did exactly that.

However, to expect her to excel in the entire operatic repertoire is unrealistical as well as unreasonable. At least when she may only be judged on her vocal qualities.
With these reservations, this disc is rather enjoyable and fans of Anna Netrebko will most certainly enjoy this. Others, however, may to a lesser extent.

Full tracklist may be found here.

The album is available in a deluxe version, with additional DVD-tracks such as the below excerpt from Czardasfürstin:

Posted on Youtube by vvj2

Overall impression (scale of 1-5, 3=average):

3

Salzburg 2006: A Mozart Gala

A Mozart gala. Salzburg Festival 2006. Soloists: René Pape, Michael Schade, Ekaterina Siurina, Thomas Hampson, Magdelena Kozena, Anna Netrebko, Patricia Petibon. Conductor: Daniel Harding with the Vienna Philharmonics. Further information and detailed programme here.

I suppose this is a case of: If you like this sort of thing, you will most definitely like this DVD..
And by this sort of thing I mean a glitzy gala concert with a bunch of star singers each performing one aria, including some orchestral padding.

The overall quality is impeccably high, however I have to admit, that no matter how perfectly brilliant the individual performances, I find these things tedious to watch.
That said, several of the performances were indeed perfectly brilliant (René Pape with the Catalogue Aria, Magdalena Kozená with "Parto, ma tu ben mio", Ekaterina Siurina with "Se il padre perdei") and none were less than fine. Anna Netrebko finished the singer´s part of the show with an engaging delivery of "D´Oreste, D´Ajace".

All engagingly accompanied by Daniel Harding, who finished the evening with a straight-on delivery of Mozart´s Prague Symphony (personally I would have preferred some more singing, however).

The occasion, of course, was the 250th anniversary of Mozart´s birth, which was celebrated at the Salzburg Festival in 2006 with DVD releases of his entire operatic output. As well as this gala concert from the Felsenreitschule.

Ekaterina Siurina "Il padre perdei" (Idomeneo):

The bottom line (scale of 1-5, 3=average):

If I liked this sort of thing: 5

Video by tenore23 on YouTube

Superb La Traviata productions on DVD: Willy Decker´s 2005 Salzburg production with Anna Netrebko and Rolando Villazon

La Traviata. Salzburg Festival 2005. Director: Willy Decker. Cast: Anna Netrebko (Violetta), Rolando Villazón (Alfredo), Thomas Hampson (Germont pére). Conductor: Carlo Rizzi with the Vienna Philharmonics. Further details here.

Willy Decker ´s 2005 Salzburg Traviata is both simple and aesthetic: The oval stage is surrounded by a semicircular wall, the only decorations being the occasional pink couch and a chair. The few remaining hours of Violetta´s life are symbolized by a giant clock, counting down mercilessly at varying speed, while Violetta in vain tries to stop it. With the doctor appearing in the opening scene we immediately know that this is Violetta´s final count-down.
The story is told relatively straight-forward from the sole male chorus in Act 1 underlining the pink-dressed Violetta´s status as a prostitute.

Rolando Villazón´s neurotic, hyperactive adolescent acting is perfect as Alfredo and the intensity of his performance as well as the stage chemistry between him and Anna Netrebko cannot be improved upon.
Anna Netrebko is virtually ideal as this Violetta, desperately trying to stop the clock counting down to her death. Vocally she has a wonderfully direct way of singing and an identification with this character that leaves most of her colleagues far behind. As Germont pére, Thomas Hampson was rather disappointing, both sounding and acting stiff and wooden.

Whether this staging also will work with less charismatic singers in the leading roles I am less certain about. Extensive rehearsal footage is available with the DVD.

The toast from Act 1:

The bottom line (scale of 1-5, 3=average):

Anna Netrebko: 5
Rolando Villazón: 5
Thomas Hampson: 3-4

Carlo Rizzi: 4

Willy Decker´s production: 5

Overall impression: 5

DVD: Anna Netrebko as Manon - with Rolando Villazón from Berlin

Manon. Berlin State Opera 2007. Production: Vincent Paterson. Cast: Anna Netrebko (Manon), Rolando Villazón (des Grieux), Christof Fischesser (Comte des Grieux). Conductor: Daniel Barenboim. Further information here.

Both Renée Fleming, Natalie Dessay and Anna Netrebko now appear as Manon on DVD - all superb in three different productions, that seem tailored to the individual strengths of each soprano.
This DVD was recorded live at the Berlin State Opera during the run of performances in April/May last year, of which I attended the premiere.
American director Vincent Paterson has a past directing music videos, and this performance does indeed resemble a three-hour long music video. Previously shown at the Los Angeles Opera, some may ultimately find the staging too superficial. However, both in the theater and here on this DVD, I found it hugely entertaining. Essentially, of course, this production is a star vehicle for Anna Netrebko and Rolando Villazón and everything, including the poverty and suffering is glamorous.

Manon´s change from poor country girl to Marilyn Monroe look a like has found the ideal interpreter, both vocally and dramatically in Anna Netrebko. In the theater, her voice was considerably bigger than Rolando Villazón´s, who already here showed occasional hints of the vocal troubles that lead him to take an extended leave only few months later, and he even cancelled several performances of this Berlin run. On DVD, this was balanced out by the technicians and Villazón seemed in over-all better vocal shape than in the subsequent Barcelona performances with Natalie Dessay.

Originally Bertrand de Billy was scheduled to conduct this run of performances, but as he curiously cancelled for personal reasons Daniel Barenboim conducted the work for probably both the first and the last time. Not that he is not a competent conductor in this repertoire, which he is.

Highly recommended.

Anna Netrebko and Rolando Villazón in the Manon final scene:

The bottom line:

Anna Netrebko: 4-5
Rolando Villazón: 4-5

Vincent Paterson´s production: 5

Daniel Barenboim: 4-5

Overall impression: 4-5

Superb Figaro: 2006 Salzburg Guth Harnoncourt DVD with Netrebko, Röschmann, Skovhus, Schäfer, d´Arcangelo

Nozze di Figaro. Salzburg Festival 2006. Director: Claus Guth. Cast: Anna Netrebko (Susanna), Ildebrando d´Arcangelo (Figaro), Bo Skovhus (Count), Dorothea Röschmann (Countess), Christine Schäfer (Cherubino). Cond: Nikolaus Harnoncourt with the Vienna Philharmonics. Further details here.

I´ve never understood exactly why this Claus Guth production of Nozze di Figaro is widely labeled one of the most controversial stagings of recent years. It does present a different take on Mozart´s opera, which may not be to everyone´s liking, but to find this genuinely shocking you´ll have to spend quite some time in the past tense...

Claus Guth´s production is an antidote to all those productions that think of Figaro as a proto-Rossini comic opera. All the light, bright and sparkling is eliminated and replaced by melancholy and poignancy. Nozze di Figaro is no light-hearted comedy, but a weighty drama of Strinberg´sk proportions.

The set consist of the interior of a Victorian house with two staircases.
The Count is neurotic and guilt-ridden and seems genuinely to be in love with Susanna. Susanna does not know whom she loves and is genuinely attracted to the Count as well. Figaro is rather introverted and distraught. In comparison the Countess appears more conventional, though she does seem to have the affair with Cherubing she is accused of having. Cherubim a character invented by Claus Guth is a sort of love catalyst following everyone around as well as sitting on the Count´s back during his aria. Occasionally the characters appear frozen in time.

In my opinion this is a superb reimagination of Nozze di Figaro. But then I´ll have to admit not really being able to sit through a conventional Figaro production either.
Claus Guth´s new production of Don Giovanni will open at this years Salzburg Festival.

Conductor Nikolaus Harnoncourt attracted almost as much attention as Claus Guth. Yes, he does set some slow tempi. But not nearly as slow as Pierre Boulez´ Wagner is fast. And not nearly controversial enough to justify the debate about it, in my opinion. And despite the tempi, he is far from the poignant Mozartian of Böhm and Klemperer that he has been made out to be. Lovers of period performances may still prefer to look elsewhere though.

There is not a single weak link in the stellar cast:

The normally very dashing Danish barytone Bo Skovhus is an agonizing and neurotic Count, earnestly in love with Susanna. Anna Netrebko´s is entirely convincing as a rather dark-toned and confused Susanna. Ildebrando d´Arcangelo is a rather grumpy Figaro. He looks great, and sings with character, which almost overshadows that fact that I really do not care for his voice. Christine Schäfer is superb as Cherubino looking exactly right, unusual casting as she is as a high soprano in this traditional mezzo part. Dorothea Röschmann is a stylistically elegant pure-voiced Countess in the most traditional interpretation of the cast.

The final scene:

The bottom line (scale of 1-5, 3=average):

Bo Skovhus: 4-5
Anna Netrebko: 5
Dorothea Röschmann: 4-5
Christine Schäfer: 5
Ildebrando d´Arcangelo: 4-5

Claus Guth´s staging: 5
Nikolaus Harnoncourt: 4

Overall impression: 5

Anna Netrebko shines in MET Puritani DVD

I Puritani. Metropolitan Opera 2007. DVD release of the HD telecast. Production: Sequi from 1976. Anna Netrebko (Elvira), Eric Cutler (Arturo), John Relyea (Giorgio), Franco Vassallo (Riccardo). Cond: Patrick Sumners. Further details here.

Imagine being one of those potential Metropolitan Opera audience members intrigued by opera via the HD telecasts and outreach marketing strategies initiated by new MET manager Peter Gelb. Curious to know more about opera one then decides to buy an opera DVD and choses this Puritani since the only singer one has heard of is Anna Netrebko, thus imagining this to be a good introduction to opera as the contemporary art form, one repeatedly is being told that it is....

Even those unfamiliar with this Puritani production may have guessed the point I am slowly trying to make here: This is a production truly worthy of an opera museum. Opera as a contemporary art form? Not here. Even Anna Netrebko has publicly stated this to be a very dull production.

Anna Netrebko´s engaging Elvira is the only real reason to watch this as she shines in a truly engaging performance. She literally kicks the dusty sets alive. At this point bel canto afficionados tend to compare her with Beverly Sills and Joan Sutherland as well as critizing her lack of true bel canto style. Just a quick glance at the more than 100 comments accompanying the video of Anna Netrebkos Mad Scene ensures that this is not a subject to be taken lightly. I´ll refrain from commenting, as my knowledge on the subject is even less than my interest in it...

The remainder of the cast tends to stand still and deliver their lines, no doubt as intended by the director:
John Relyea´s appearance however, deceives. He looks good and is a fine actor. These two points seem to overshadow the fact that his voice indeed is rather unappealing. Of the others, Eric Cutler is as fine as any in the thankless role of Arturo.

May this be recommended? For fans of Anna Netrebko, yes.

Anna Netrebko in the Mad Scene - first part (second part may be seen here):

MET HD 2008-9 schedule

UPDATE 22/4: The MET has now officially confirmed the schedule posted below (link here) without alterations. In addition the opening night is also transmitted, but only in North America.


Saturday, October 11, 2008
Salome
Franck; Mattila, Komlósi, Begley, Kaiser, Uusitalo

Saturday, November 8, 2008
Dr. Atomic
Gilbert; Cooke, Arwady, Finley, Fink, Owens

Saturday, November 22, 2008
Le Damnation de Faust
Levine; Graham, Giordani, Relyea

Saturday, December 20, 2008
Thais
López-Cobos; Fleming, Schade, Hampson

Saturday, January 10, 2009
La Rondine
Armiliato; Gheorghiu, Oropesa, Alagna, Brenciu, Ramey

Saturday, January 24, 2009
Orfeo
Levine; de Niese, Murphy, Blythe

Saturday, February 7, 2009
Lucia di Lammermoor
Armiliato; Netrebko, Villazón, Kwiecien, Abdrazakov

Saturday, March 7, 2009
Madama Butterfly
Summers; Gallardo-Domâs , Zifchak, Giordani, Croft

Saturday, March 21, 2009
La Sonnambula
Pidò; Dessay, Flórez, Pertusi

Saturday, May 9, 2009
La Cenerentola
Benini; Garanca, Brownlee, Alberghini, Corbelli, Relyea

I must admit I was surprised, that they are not (as yet) broadcasting the first Ring Cycle (the matinée cycle playing over four Saturdays). Still room for changes, I suppose, though the programme does look splendid, indeed.

DVD: Enjoyable L´Elisir d´Amore with Netrebko/Villazon from Vienna

L´Elisir d´Amore. Vienna State Opera 2005. Production: Otto Schenk. Cast: Rolando Villazón (Nemorino), Anna Netrebko (Adina), Ildebrando d´Arcangelo (Dulcamara), Leo Nucci (Belcore). Conductor: Alfred Eschwé. Further information here.

Whether one is a particular admirer of the Netrebko/Villazón couple or not, this is a most enjoyable performance of L´Elisir d´Amore. Though, Otto Schenk´s production dated 1980 is realistic, basically depicting a courtyard in Southern Europe, it isn´t too dusty, and provides an acceptable background for the plot.

And the story of how a shy country boy (Villazón) gains the necessary confidence to win his beloved (Netrebko) after having purchased a (fake, obviously) love potion from a con-man (d´Arcangelo) is actually quite well-suited to be put on stage, even today - funny and touching, but avoiding the ridiculous.

The main selling point of this DVD obviously is Anna Netrebko and Rolando Villazón. And, though nobody may live up to the hype surrounding these two, they show in this DVD that all this hype indeed does not come out of nothing, both convincing with a high-quality performances vocally as well as dramatically.

First, Nemorino is an ideal role for Rolando Villazón in every way. He simply is that clumsy, shy and naive village boy, believing that a fake love potion will get him his Adina. 5 minutes applause after his big aria Nella Furtiva Lacrima even resulted in an encore. And justly so, the lyrical part bringing out maximal expressivity in his voice, without pushing it to the limit. Though his acting does in some ways remind of Mr. Bean, he genuinely seems to be in his right element here. So does Anna Netrebko with her lofty, though warm Adina.

Also Ildebrando d´Arcangelo (as the potion-seller Dulcamara) and Leo Nucci (as Nemorino´s rival Belcore) are very convincing, although they probably would have been even more convincing had they switched roles, leaving the younger, and quite handsome d´Arcangelo to play Villazon´s rival.

Do not expect this DVD to profoundly change your life or to provide new insights into the remotest corners of the human mind. But do expect to be splendidly entertained for two hours.

Anna Netrebko and Rolando Villazón:

The bottom line (scale of 1-5,3=average):

Anna Netrebko: 5
Rolando Villazón: 5
Ildebrando d´Arcangelo: 5
Leo Nucci: 4-5

Schenks staging: 4

Eschwé: 4-5

Overall impression: 5

Villazon Netrebko Barenboim in Manon Berlin premiere

Manon. Berlin State Opera. April 29th 2007, Premiere. Production: Vincent Paterson. Cast: Anna Netrebko (Manon), Rolando Villazón (des Grieux), Christof Fischesser (Comte des Grieux). Conductor: Daniel Barenboim.

Vincent Paterson, whose earlier works include music videos and concert tours for Michael Jackson and Madonna among others, directed this Manon production at the Berlin State Opera, previously shown at Los Angeles Opera. In the German press, he was heavily criticized for making Manon look like a prolonged pop music video. To a certain degree I completely agree: In a way this production does look like a stylized, smooth neverending video. Simple sets, elegant, colourful costumes, good-looking participants etc. And what exactly is wrong with pop music videos?

And was Rolando Villazon/Anna Netrebko worth the money? Depends on how much you payed for your ticket, I suppose, as I am not sure I would have found any spectacle to be worth the 1000 Euros some people in the audience had payed for their seats. However, the short answer to the question is: Yes. They were worth the money.

Anna Netrebko is just as superb a stage actress as everyone says she is and she is entirely believable as Manon. Her Manon is a glittering movie-star Manon, never less than glamerous, even when she suffers. That her fleeting voice was quite large and easily over-powered Rolando Villazon was more surprising.

Rolando Villazón is an equally convincing singer-actor, playing up to his strenghts as a stage performer being shy, naïve and slightly submaniac, with suits a des Grieux just fine. With his warm voice added on top he is simply an excellent des Grieux.

That Christof Fischesser managed to hold his own in this company is no small achievement.

Daniel Barenboim was predicably excellent in what I believe to be both the first and last time he conducted Manon. Apparently the originally contracted Bertrand de Billy withdrew for personal reasons.

In theory, one would imagine there to be plenty of relatively young, good-looking opera singers around able to convincingly portray these characters, but I am not so sure. I still wouldn´t pay 1000 Euros to go and see these two (I wouldn´t pay 1000 Euros to see anyone) though they are definitely worth traveling to see.

This Manon production is released on DVD autumn 2008

Photographs: Monika Rittershaus