American Beauty Rosenkavalier
[La Cieca is delighted to introduce a new reviewer, @scazzasofija.]
I found Rosenkavalier (Met, Oct. 13) to be mostly sublime. My quibbles come from a preference for Kleiber’s tempos. I found that de Waart was waving his arms as fast as he could for the beginning, but I think the prelude and up until the Marschallin’s monologue were too slow, not enough contrasts for the end of the act. I think this is the conservative American take on this opera, so I think it wasn’t a “problem.” However I felt that the Marschallin and Sophie lacked amusement and a real bright perkiness respectively partially due to the tempos.
Fleming looked a bit like Tatyana in bed, the wig basically the same and a similar nightgown. The relationship seemed troubled from the start. Her Marschallin was very relaxed in bed, no coyness or nervousness. However she was very affected by Octavian’s outbursts, exasperated rather than standing above and amused at her lover. She also did not seem in love with him, she looked more unhappy and besieged. Her lines “you’re like all men” and its like that run through the opera, stood out.
It came off that they were bickering and so the natural flow of the first act to their unhappy parting seemed natural, and more like a breakup, and I found myself thinking that she’s better off without him. The dramatic choices made a lot of sense, and at no point did I get the impression that the Marschallin was anything more than tolerant of her life and duties.
Vargas did not sound good in the house. I thought he had a cold. He lacked core, easy power, it felt pushed. Not like Onegin. He looked to be struggling.
Act 2 also lacked a fast enough tempo in the fast parts and Persson does lack enough perkiness to make Sophie really stand out in charm against the Marschallin. Also Persson’s voice has a darker color & round quality than what we’ve come to expect from Sophie (Damrau, Bonney, Battle) that some people might have a problem with. It was an interesting match with Graham in the duets; there were times when I couldn’t tell who was talking. I think the tempo, her acting, and the color of her voice did drain Sophie of her uniqueness a bit. Not enough contrast for me though. I found that the “Rosenkavalier” costume aged Graham and I had to focus on her acting to see her as the 17 year old boy. She was very amusing in the tavern scene.
Both Graham and Fleming sounded good. Fleming sounded lovely, none of her crazy habits, and nice low notes (though a bit inconsistent, but I’m really picking here). You really wanted to hear more. Fleming really shone in the third act The intervening time gave her voice a nice, relieving contrast from what we’d heard: silvery, narrow beauty. I’d never heard her like that.
The entire night she did well to emphasize the conversational-quality of the language and dialogue, and she seemed very naturally fluent (demonstrating how she is fluent) in her German conversation. This was especially in the beginning of the trio where she took a less reverent stance for “Hab mir’s gelobt” then that she was continuing a train of thought that she had been having throughout the opera. She wasn’t even turned to the audience yet. I found it very effective and real.
Ochs was good. He cracked once in Act 2 and seemed to struggle with his lowest notes. But he had verve, fit the bill. The production was unoffending, traditional, with occasional touches of the sublime with the Marschallin’s opulent lavender and silver, Schwarzkopf-like costume, complete with white wig and aigrette, contrasting with the brown and dark colors of the tavern. The music was consistent, singing lovely, and really a wonderful package overall for the Met.
#8…
I agree with you on Persson. I remember her singing very beautifully in Jacob’s “Rinaldo” recording. Lately though, the voice sounds seriously monochrome. The top seems to lack bloom and is often just slightly flat. In fairness to her, of course, “Et incarnatus” is a bitch of an aria to sing well, as it sits VERY high (especially considering that she sings at higher pitch than Bonney). Also, Bonney has perfect pitch, which I think also helps her in aria as strongly instrumental as this one. Also, she seems to sing Fiordiligi a lot, which may explain the issues at the top (Fiordiligi is a big sing for a voice like hers and requires a strong and well connected lower and middle register).
“My quibbles come from a preference for Kleiber’s tempos.”
Now perhaps I’m quibbling, but… Which Kleiber?
Sorry, Mrmyster, that you seem so offended by my supposed “touch of distemper,” which by the end of your latest has moved on to accusations of downright rudeness. I’ve reread the two posts above and all I can honestly detect in that direction is what you might see as a lack of deference to you personally. Even that I’m willing to apologize for. And you’re right: I can’t do anything about my age, though it is refreshing to be called “very young” — though that may also stand as one reason I would never have referred to Steber as “Eleanor.” We were not in any sense equals.
Regarding the original review – to say that Fleming exhibited none of her “crazy habits” is plain ridiculous – it was bizarrely mannered and to say that it would be “quibbling” to discuss problems with the lower voice means that this reviewer WANTS to overlook the severe vocal problems Fleming is having with the chest voice. the review was neither objective or particulary enlightening regarding either the work itself or the performance.
And speaking of great Mozart singer, this one takes a stab at Verdi; Verdi dies --
mrmyster:
While the conversation has gone way beyond, I thought I’d reply to your problems with my “review.” First of all, these were passing thoughts sent in as a courtesy to La Cieca since I enjoy her site so much, not an edited and final cut of a much agonized over review. I apologize if my points weren’t clear. But I was making observations, and I think I was pretty clear about what was a problem for me and wasn’t.
Yes, it was an American Rosenkavalier, this is mostly LEVINE’s Rosenkavalier. He ran the rehearsals and I doubt that de Waart could substantially change it. But as I said, it wasn’t a problem, just my personal preference for a different conductor. Really, that’s never happened on this site?
Renee’s portrayal was wonderful, but it was different. I had no problem with her being relaxed in bed. I don’t really know where you get that idea. Many Marschallin’s are overtly trying to play pawing, young and coy; I found it a relief that Renee felt no obligation.
As for Persson. I do think she could have stood out more in coquettish charm. She needs to equal the Marschallin in PRESENCE so you understand why Octavian would fall for her at all. There was a man sitting by me who called everyone he knew after the second act because he was so infuriated by Persson. I was not one of these people. However, I think she is more in the old mold of a Sophie, someone who may grow into the Marschallin. It was refreshing, but her character needed to stand out more.
I was merely providing the view from the house, explaining what the acting was like for those of you who listened online. I know things can sound and look completely different. If I hated anything, I would have used much stronger language. I think this is a great production, Renee a wonderful, sensitive, uniquely coherent Marschallin. This is not Sonnambula from last year, Satyagraha, or even the Met’s Salome which I had some major problems with. This was only the view from the house.
Carlos Kleiber (now let’s hope I do this like correctly!)
Sorry I can’t figure out how to do the embed link:
[fixed that for you - lc]
25
Well, Sanford, try Stich-Randall (“Dyke, ya know!”)in FALSTAFF, where she rivals your beloved Moffo…
She also recorded a fascinating German-language Violetta for the radio (Stuttgart 1953 if memory serves).
26 “Yes, it was an American Rosenkavalier, this is mostly LEVINE’s Rosenkavalier. He ran the rehearsals and I doubt that de Waart could substantially change it.”
Think again. Say what you want about their interpretations, but the lead singers (and the Met orchestra) are all cracker-jack musicians who have done the opera with different conductors over the years. It would not take de Waart much time to put his stamp on the musical side of things in the two weeks since Levine pulled out.