Wednesday, March 27, 2013

Wagner Bicentennial Peeps Diorama

Stop what you are doing and go vote for our Die Walkure-inspired peeps diorama on the Washington Post website:

For the record, Chereau, Wieland Wagner (an anti-peep diorama), and Zambello (for some local flavor) were considered as other jumping off points, but the team reached a compromise to not be complete nerds, and we went with kitschified Schenk.

Vote early and often!

Update: A few more pics, full gallery here. Here's Wotan waiting just off stage to lay the smack down on Peephilde...

The orchestra...

And still hanging around beneath the stage are some of Nibelungen, and just offstage above is a very melancholy looking Peep-glinde...

And here's some more detail of the audience:

Saturday, March 16, 2013

Manon Lescaut at WNO

So, before I get into the show itself, I must admit to being an in-house Manon Lescaut newbie. While seeing the thing staged didn't exactly make me a convert, I definitely have a better appreciation for where its virtues lie, especially when the indomitable Pat Racette was making the case.

Her success was perhaps slightly tempered by a somewhat middling cast around her--one was more or less biding the time til she opened her mouth again--but surely a success nonetheless. The part sits beautifully in her voice, and the audience sat in rapt attention at the delicate shading she brought to each of the big moments, not least of all her "Sola, Perdutta, Abandonnata." That said, there's certainly room for her to take the character deeper--there isn't too much breathing space between flighty and somber in that second Act, and Racette hasn't quite thread the needle on how to make the whole thing click, while the desperation of Act III was credible but not quite distinctive yet.

Her Des Grieux, Bulgarian tenor Kamen Chanev, delivered a big beefy sound where it counts, but inconsistencies plagued the rest of his performance. He had an awfully rough time getting started, and once there still managed to frequently slip into muddy intonation and choppy support. A limited bag of FX and sense of nuance also meant the arias were pretty static. Though credit is due for his work in Acts 3 and 4--his palabale anguish and ringing upper register made for a fine partner to Racette and the Le Havre/Louisiana desert sequence resonated in a way that the Act II reunion did not. (Though to my newbie vantage point, this scene feels generally problematic, with the audience poorly set up to sympathize with the lovers in the absence of any other material showing Des Grieux and Manon in love, something Massenet's iteration does quite well.)

Musical values were reinforced by Philipe Auguin in the pit, who delivered a warm, precise reading of the score and brought the best out of the WNO band. As his sophomore year draws to a close, Auguin's presence on the podium continues to guarantee an evening of high musical interest.

This revival is the work of director John Pascoe, who also brought us the fall's very effective Don Giovanni--unfortunately both dramatic and aesthetic sensibilities feel muddled here. Making sense of the 19th century values that drive the Manon story is a challenge for thoughtful modern productions of either of the great settings, and with obstacles like the leaden coquetry business in the first Act, this challenge should not be underestimated.  Yet these questions are really central to how the work is presented: how should we engage the "fallen woman" narrative? What does our sympathy for Manon and ostensible identification with Des Grieux mean? How do we understand the character's choices relative to the male authority figures which shape and bind her path at every step?

Pascoe doesn't offer many clear ideas on these fronts, but rather seems to actually dig in around a deliberately non-inquisitive reading. Take for instance the cloyingly nostalgic device of a Disney-enchanted-castle size piece of parchment paper upon which Des Grieux' narration from the original novel appears, which splits apart to reveal each scene, and sometimes closes halfway to frame one of the key arias (props where due--the last is an effective choice). Watching Puccini's great personal statements for Manon delivered, literally, through the prism of Des Grieux' pen is the kind of setup another production might have a field day with, but alas, I think here we are supposed to take it at face value.

Tuesday, March 12, 2013

New Parsifal at the Met

Caught the final night of the new Met Parsifal last Saturday and will add my voice to the chorus that has rightly praised this production's thoughtfulness and superior musical virtues. After the debacle of the LePage Ring, the Met really needed to prove it could still do right by Wagner, and with this show, they have unquestionably shown that they can.

The cast speaks for itself, bringing together some of the finest exponents of these roles available today. Kaufmann's unique baritone-flavor tenor brings a very different color to the music than the traditional blazing heldentenor sound, which aligns nicely with the bleak sobriety of the production. Pape's Gurnemanz is pretty much the gold standard, of course--listening to that unceasing outpouring of lush legato you can only pity whoever has to eventually step into his shoes. Dalayman was loud and awesome, as is her wont, even if Act 2 didn't quite catch fire the way it did last time with Waltraud.

But the revelation of the evening, at least for me, was Peter Mattei's Amfortas. Mattei's rich, urgent sound and beautifully precise realization of this part has, I think, permanently banished Thomas Hampson as the default Amfortas I hear in my head, and for that I thank him (and no, I don't really mean that as a burn on Hampson, whose Amfortas is a reminder of all the good things about him and very few of the bad, but it's just been way too long since I got excited about Amfortas, you know?) To boot, Mattei offered a searing physical performance the likes of which one rarely sees in the opera house, a testament to both his acting chops and the direction.

As for the production by Francois Girard, it gets some big things very right and at least one thing pretty wrong--a success to be sure, but a qualified one...

In Girard's vision, the grail knights inhabit a barren world devoid of any nature or sustenance, indeed of any evidence of the divine save for the magic spear and goblet talismans anchoring their bleak outlook. The knights spend most of Act I hunched in a tight, insular circle, a symbol not of equal brotherhood but of society feeding on itself incessantly. Moreover, while there are more women than usual in this grail zone, they are pointedly segregated upstage, suggesting that the all-male society of the grail is more a symptom of its sickness than its purity. These are simple gestures painted on a simple setting, but Girard deftly evokes a sense of utter spiritual deprivation.

Given Parsifal's affinities with science fiction, one is tempted to see this wasteland as a post-apocalyptic landscape or some other exotic locale. Yet Girard tells us plainly that the world presented on stage is a metaphor for our shared society. As the prelude begins, we see a black reflective surface dimly displaying the auditorium, which lifts to reveal the cast in rows mirroring the audience in their seats. Sure, the pat "these characters are...YOU" moment can be heavy-handed, especially when introduced as a reveal to stoke some point of cognitive dissonance. But the intention is honest here--simply informing the audience of the parameters of the interpretation presented.

The problem really lies with Act II, which places Klingsor and the flower maidens in a shallow pool of blood somewhere below the parched grail landscape, and is meant to represent a journey into the actual wound of Amfortas. Zerbinetta at Likely Impossibilities has an incisive critique of the situation here:
Parsifal is a confusing work, sure, but it has some central themes that are pretty clear: the knights have been tainted by sensual temptation. Redemption can only come from a pure fool (Parsifal), who first needs to learn compassion. He becomes a sexual ascetic after refusing Kundry’s seduction. So Girard’s idea of inverting this demands some serious intervention in the portrayal of seduction as the source of the knight’s problems as well as Parsifal’s awakening to asceticism, something that he does not do.
OK, this is going to get a little real, but I would go even further and argue that the images Girard plays on by staging Act 2 "in the wound" actually makes for a disturbing affirmation of the work's most retrograde tropes. By staging Kundry's seduction in a pool of blood, on a pristine white bed which grows progressively soiled with blood, Girard has realized Parsifal's rejection not just as a rejection of lust in the name of empathy for Amfortas, but as a moment of visceral body horror. Following this logic, Amfortas' wound is the "wound" all women have, the wound from which all sin originates, and the font of unnatural blood that serves as the evil counterpart to the blood Jesus shed on the cross to redeem man from that sin.

Now, in another production, one might be inclined to read this as an attempt to reveal and reject those tropes, as meta-commentary on the disturbing gender politics which run through how Parsifal is constructed and received. But I'm skeptical that that level of commentary is in this production's DNA. It seems more plausible that the no-doubt inspired gimmick of going INSIDE THE WOUND was too good to pass up and the full ramifications of that choice were never really reconciled with the more subtle ideas that the topside acts play around with.