Regie done right
Now, even before you put the first of the two discs into your DVD player, you could start finding problems: “I don’t know any of these singers!” “Singing Mozart in translation?” “The sets look flimsy!” “Lipsynching?”
To which I answer, “Who cares?” This production shows, if not proves, that brilliant direction and artistic commitment to a masterwork of an opera can overcome any problems to create a wildly entertaining and fulfilling experience.
Geza Oberfrank conducts a lively if slightly sloppy overture, and continues the trend throughout. Some of the more intimate moments are given the feeling and time they deserve, while some tempi in the more youthful sections (“Non so più”) are fast enough to cause audible concern in the singers, but the Orchestra of the Komische Oper Berlin holds together well under Oberfrank’s baton.
In some productions of Nozze the men shine, while in others the ladies take the day. This is clearly a case of the latter. Magdalena Falewicz as the Countess perseveres through the German translation to create beautiful Mozartian lines, with a truly gorgeous “Dove sono” the standout moment in her performance. She is heart-shattering in her sadness, yet still able to be alluring and coy when needed.
One can almost forgive the Count for his lusting after Susanna when she is played so ably by Ursula Reinhardt-Kiss. Her eyes are two huge globes of emotion with the ability to drive you mad with passion, and then in an instant turn to reveal the guilt that racks her heart when she deceptively flirts with the Count during “Crudel, perché finora.” She matches her ability as an actress with beautifully formed phrases and dynamic control, especially in “Deh vieni non tardar.”
Ute Trekel-Burckhardt, while having a rather odd throaty sound in places and the occasional vocal hiccup, is a more than serviceable Cherubino. While I have seen better, she delivers her quips well in German recitative and is rather convincing in her trousers.
The men are actors in the same vein as the ladies, but with slightly less Mozartian capability in their voices. József Dene has a stentorian basso sound that you don’t expect from a Figaro, but lacks the high notes that you do expect. Uwe Kreyssig sings the Count admirably despite a tone that conveys neither nobility nor seduction. He does sing with his heart on his sleeve with the voice he was given, and for this he deserves credit, especially for a gripping “Hai gia vinta.”
The extras alone are worth owning this Die Hochzeit des Figaro (Walter Felsenstein Edition)
but who is walter felsenstein??
Bravo. I have a review of Felsenstein’s “Hoffmanns Erzählungen” coming up. When I first got it, I was like, “Che?”
Felsenstein was an interesting figure.
Midispiacemolto, he founded the Komische Oper company.
Walter Felsenstein’s doctrine of MUSIC-MAKING Theater made him one of the most important opera directors of the mid 20th century. His legendary Komisheoper in East Berlin boasted well-rehearsed ensemble productions that were kept in repertory for hundreds of performances and revived with impeccable preparation. Felsentein was the leading champion of fidelity to a composer’s intentions. Since he refused to open a production until it was totally ready for an audience he could never really work in the parameters of other opera company’s schedules. Although his theater was in communist controlled East Berlin, he was permitted to live in West Berlin. He had a prominent dueling scar on his face. He was the mentor of Joachim Hertz, Harry Kupfer, Goetz Friedrich and many other personalities who became famous stage directors (even a very young Jean-Pierre Ponnelle) and Intendants. Felsenstein was a major influence on Sarah Caldwell and the productions she staged. She brought Felsenstein to America for a series of lectures in Boston and showings of the very films that recently have been so beautifully transfered to DVDs. His son Johannes, also an opera producer and Intendant, never achieved the status of his father. Most importantly, no singer in a Felsenstein production was permitted to utter a word unless the text, the tone, the pitch and the breath crystalized in a single moment that made it appear that what was being sung was being uttered for the first time.
I am drooling, I hope one day this will be in DVD also
could this review have benefitted from some discussion of felsenstein’s historical importance or at least details of the Hochzeit staging on this dvd?
I’m a fan of what Felsenstein I’ve seen, so what specifically did he bring to this production?
The Komische Oper is still one of the hold-outs that does everything in German and with no supertitles. Once you get used to that, it’s a charming and unique place to see an opera.
The only famous Felsenstein singer I heard live was Anny Schlemm. There is an interview with her in a book called Mythos Primadonna, in which she talks at length about him. He was very domineering, dictatorial even, but also the only director in her very long career that ever sent her detailed letters after a performance, not only pointing out the things she did wrong, but also the things that he loved. She has shoeboxes full of them. He also saved her mother from having to go to prison for buying coal stamps on the black market. And he talked her into Boulotte, her most famous part, which is also in the DVD box, fortunately.
The Boulotte is on youtube:
See also:
Felsenstein’s frequent scenic designer was Rudol Heinrich (as above in the Vixen excerpt) What a team they were.