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AND HEARD INTERNATIONAL OPERA REVIEW
Gluck, Orphée: at the Royal
Not since 1944 has there been a performance of Gluck’s most famous
opera at the Royal Opera House in Stockholm. But Orfeo ed
Euridice has still been played in the Swedish capital on
numerous occasions through the years. It was the third opera to be
performed by the new Royal Swedish Opera in 1773, with a tenor
singing the title role the year before Gluck presented his revised
version in French for tenor, and this version was given in 1786.
After that there was more than a century before the opera appeared
again, in 1894, and in 1924 and 1937 there were new productions.
But also after 1944 it has been seen – at the Drottningholm
Theatre from 1957, often in the Berlioz version but sung in
Italian, as was long the norm. In later years Arnold Östman has
revived both the Vienna and Paris versions, even the Parma version
with Orfeo sung by a soprano (recorded by Naxos).
Orphée is in this production an old man, thin-haired with a trace
of pot-belly, dressed in a badly-fitting black suit. He is
inconsolable, mourning the loss of Eurydice and following him to
Hades and back is a strong experience: meeting the disfigured
Furies at the entrance, the Blessed Spirits in their airy white
costumes – like elves – and the long dramatic journey back, where
he eventually looks at Eurydice and she dies. As in all
productions Amor – here tightly wrapped in white, looking like a
mummy – restores Eurydice to life a second time but Mats Ek avoids
a happy end by letting her disappear in the wings, leaving Orphée
alone in his armchair. It is a de-glorified picture of Orphée and
instead of appearing as an archetype he is made more human – and
consequently the tragedy touches us even more than usual.
I wrote three soloists but in practice there are a lot more of
them since both the opera chorus and the ten dancers are allotted
very chiselled out individual characters and if I have any
objections against this performance it is rather that there is too
much background – or parallel – acting. Sometimes the dancers tend
to take over and dominate the proceedings to the detriment of the
central drama. Everything is skilfully done – even virtuosic – and
there is warmth and humour a-plenty – as when the blessed spirits
suddenly cease their dancing just to listen to Susanne Hörberg’s
superb playing of the famous flute solo, giving her a
well-deserved round of applause. But there are also moments where
the impact of the basically tragic tale is lessened through
ironic-humoristic twists and turns. People react differently to
such things and the problem might well be that I personally have a
rather indifferent attitude towards ballet. I admire good dancing
and good choreography but I could just as well live without it.
Comments I overheard during the interval revealed that it was
greatly appreciated. Göran
Forsling
Direction and Choreography: Mats Ek
Sets and Costumes: Marie-Louise Ekman
Lighting: Erik Berglund
Cast:
Orphée – Anne Sofie von Otter
Eurydice – Marie Arnet
Amor – Marianne Hellgren Staykov
Dancers, Chorus and Orchestra of the Royal Stockholm
Opera/Sir Richard Armstrong
The new production at the Royal Opera House again utilizes the
Berlioz version from 1859 but now sung more correctly in French.
It is directed by Mats Ek, one of the most legendary Swedish
dancers, whose parents were both important artists: his father
Anders Ek was for many years one of the most prominent actors at
the Royal Dramatic Theatre and his mother Birgit Cullberg, creator
of the famous Cullberg Ballet, for which Mats Ek also was leader
for a number of years. He has been a director and choreographer
for many years but this is his first opera production and it goes
without saying that the ballet plays an important part, not only
in the traditional ballet numbers like the dance of the furies and
the dance of the blessed spirits but also as a more or less
constant backdrop to the action. The stage picture – created by
Marie-Louise Ekman – is accordingly sparse, sometimes the stage is
totally empty, in the last act there is a door, a lamp and an
armchair, depicting, no doubt, the earthly home of Orphée.
Mats Ek‘s direction is extremely detailed with every gesture,
every movement deeply considered, making this production one of
the most consummate theatrical experiences on this stage for a
very long time, and the three soloists are deeply involved and
credible in their acting.
The heaviest burden of course falls on the shoulders of Anne Sofie
von Otter in the title role and she is nothing less than
magnificent both scenically and vocally. Her bare face expresses
all the sorrow, longing, despair, hope, joy, desperation and
resignation that Orphée lives through and I don’t think I have
ever heard more nuanced singing in this taxing role. A glowing
triumph!
Marie Arnet’s Eurydice is also wonderful and her beautiful lyric
soprano glitters enticingly. Marianne Hellgren Staykov, a superb
Woodbird in Siegfried a year ago, again shows that she will
no doubt be a force to reckon with in larger roles. Due to her
mummy wrapping she has limited possibilities to act, even walk,
and is mostly carried about by four men, sometimes even singing
lying horizontally in their arms.
I have had many opportunities to praise the Royal Orchestra the
last three years and they play excellently in this performance,
roused by Sir Richard Armstrong’s inspired conducting. A special
treat, for both the audience and – I presume – the orchestra, is
that during the overture they are fully visible on the same level
as the stage, but when the curtain raises they are slowly lowered
down to their righteous location in the Underworld, only to emerge
again during the final bars of the opera.
Orphée is on the agenda until the end of March 2008 and the
title role is shared between von Otter and another international
low-voiced Swedish singer, Anna Larsson.