Donizetti, Anna Bolena. Wiener Staatsoper, 4/2/2011. New production premiere by Eric Génovèse, sets by Jacques Gabel and Claire Sternberg, costumes by Luisa Spinatelli, lights by Bertrand Couderc. Conducted by Evelino Pidò with Anna Netrebko (Anna Bolena), Elina Garanca (Giovanni Seymour), Ildebrando D’Arcangelo (Enrico VIII), Francesco Meli (Percy), Elisabeth Kulman (Smeton).It’s hard to believe that this listless production is actually new. The static poses and stock gestures are straight out of your standard minimally rehearsed rep night. Actually, some of it is worse. What did they do for four weeks of rehearsal? And the drab visuals don’t help either. But let’s talk singing first, because that’s what this thing has going for it.
But I think even diehard bel cantanistas would find rewards in her singing here, particularly her wide range of dynamics and gorgeously floated high notes. That plus dramatic intensity? Magic. The coloratura was mostly clean if not typewriter-mechanical and she showed a respectable if slightly unreliable trill and judicious use of chest voice. I can’t give you a rundown of acuti and cadenzas but she sang a good high D at the end of the first act and the cadenzas sounded like advanced level bel canto to me, not simplified. Sometimes her phrasing could be more immaculate, her sound a little more even, her coloratura clearer (her weakest point is descending scales). But slight imperfections are a small price to pay for her passion and commitment. I expect she will grow in the role with more experience and a stage director who is competent and can help her develop the character a little more, but she’s already very good, and a real star in an opera that requires one.
By the way, I do not mean to set up a false dichotomy between bel canto with perfect technique and bel canto with passion. But that’s sort of how it turned out at this performance.
Namely, if you prefer Elina Garanca’s Giovanna Seymour to Netrebko’s Bolena, you would be in the technique department of the School of Bel Canto Appreciation. I found Garanca a well-sung bore. The notes were all there, sung very cleanly and evenly with apparent enthusiasm, but her voice is too metallic and chilly for this repertoire. She lacks roundness, and sounded more like a soprano than a mezzo. She appeared to be doing the right things, musically and theatrically, but it was always that, an appearance, while Netrebko seemed to be living it. For all her considerable talent--she has a wonderful voice and is in all technical respects an extremely accomplished singer--she lacked any sign of personality or individuality. In pure decibels and accuracy she outsang Netrebko in the duet, but theatrically the scene did not ignite because the emotion seemed to be only on one side.
On the male side of things: As Percy, Francesco Meli gave an uneven performance. There were moments of liquid Italianate beauty in his singing, but they were mixed with too many ones of strained and wobbly tone above the passaggio, though he improved as the opera went on. He has a good idea of the style and tried to match Netrebko for passion (though he is a stiff actor), but the voice is coming apart a bit, I fear. As Enrico VIII Ildebrando D’Arcangelo was well cast and sang in a perfectly fine and correct way, but failed to impress me one way or another, which is probably more due to my general bel canto indifference than him (note that the picture below shows Giacomo Prestia as Enrico VIII, who sang the dress rehearsal).
Evelino Pidò’s conducting was acceptable. The large-scale pacing was good, but sometimes it was inflexible and lacked nuance. The orchestra is notorious for not liking bel canto, but generally did a good job, with the exception of an overloud and sometimes ill-timed brass section. The trombones in the overture sounded like they were ushering us up to Valhalla, not through Donizetti. The chorus sounded very good, though their staging was awkward.
No direction of the singers could be seen. Everyone stood stiffly in place, singing auf die Rampe, as they say here, the kind of dramatic downstage park and bark that should be reserved for a few dramatic solo moments or occasional big ensembles, but here was the only show in town. Occasionally they spin around dramatically, or wave their arms* and cover their faces with their hands (I didn’t always want to watch either). Netrebko visibly struggled against the static tableaux, swaying back and forth, leaning, and stretching her neck, attempting to do something, anything to establish a character. The lack of drama in the staging seemed to only magnify Garanca’s lack of engagement with the text, and she proclaimed to Enrico that she wanted love and renown as if she were asking him to pass the salt. The staging also failed to establish relationships between the characters, who often didn’t even look at each other at key moments. Oh, Anna does get to kiss Smeton, which could make sense, but here it really doesn’t. And there’s a cascading curtain effect that seems to be borrowed directly from last week’s Elektra, where it fit the music better.
(on the record as an Anna Netrebko favorite!), but, well, actually, no. I am going to suggest that. This production is dramatically moribund. Every bodice is left unripped. Something trashy and sleazy would have been infinitely preferable. Adultery and forbidden desire shouldn’t resemble an assembly of a mourning if shinier than average Puritans. Where’s the sexiness? You’ve got Anna Netrebko, for goodness’s sake. That’s a major opportunity, sexiness-wise.
Needless to say, I am now quite looking forward to David McVicar’s production at the Met in the fall, which will also star Netrebko and Garanca. Should I send him some Tudors DVDs? No, I really don’t think he needs them.
You can catch this Viennese production on ORF and Arte on Tuesday, April 5 at 7:00 p.m. Viennese time, and at various movie theaters. If you are in Vienna but can't get a ticket, it will also be broadcast onto the big screen on the side of the Staatsoper at almost every performance.
As for the media circus, its most memorable exemplars were the visits to the standing room line of both current intendant Dominique Meyer (friendly and bringing coffee and pastry, a very nice gesture, and recorded by a film crew making a documentary about standing room) and later former intendant Ioan Holender, orangish in complexion and magisterial in bearing, uninterested in chat and accompanied by his own TV crew (and no pastry). The third film crew was from state network ORF and was surveying the relative popularity of Netrebko and Garanca among standing room waitees. (Most people seemed to reply “what a stupid question!” but I said I prefer Netrebko, actually. It’s the truth.)
If you want to stand, be aware that the capacity of the Parterre standing room section has been considerably reduced by the presence of several giant video cameras. So you will have to arrive even earlier than the usual ridiculous times required by Netrebko appearances if you want a good spot. The cameras are located on the left side, so the right line may be a better idea.
*This gesture seems to have a formula tied to the bel canto favorite IV-V-I harmonic progression: hand up (IV), out (V), and down (I, or in towards chest in case of a deceptive cadence).
Audio from last night, “Coppia iniqua,” iffy quality, sorry:
Photos copyright by Wiener Staatsoper/Pöhl? From Kurier, no credit given.