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Beethoven, Fidelio : Soloists, Orchestra Simfónica and Chorus del Gran Teatre del Liceu. Chamber Choir del Palau de la Música Catalana, Conductor: Sebastián Weigle, Gran Teatre del Liceu de Barcelona. 18.5.2009 (JMI)

Production from The Metropolitan Opera House New York.
Director. Jürgen Flimm.
Sets: Robert Israel.
Costumes: Florence Von Gerkan.
Lighting: Duane Schuler.

Cast:
Leonore: Karita Mattila.
Florestan: Clifton Forbis.
Rocco: Stephen Milling.
Pizarro: Terje Stensvold.
Marzelline: Elena de la Merced.
Jaquino: Matthias Klink.
Don Fernando: Anders Larsson.

The Company

For the return of Fidelio to Barcelona, after 15 years of absence, the Liceu offers Jürgen Flimm’s production. Flimm, Director of the Salzburg Festival, had his Fidelio premiered 9 years ago at New York’s Met with the stellar presence of Karita Mattila who now repeats the role in Barcelona.

Flimm gives Fidelio a modern twist, transferring the action to the present day in what could well be a Banana Republic. This opera accommodates the change of milieu perfectly, since oppression and political revenge are eternal constants. The plot is well narrated and the characters are very well defined. Act I takes place in the prison patio, with the houses of Rocco and Pizarro to the left, and a profusion of cells in three storeys to the right. Act II descends to a gloomy dungeon with high and naked walls. The final scene takes place in an open square, dominated by the soon to be demolished equestrian statue of the Dictator; Pizarro himself is doomed to be hanged. One of Flimm’s original ideas is to offer Jaquino as one of Pizarro henchmen. The production works well, faithfully following the libretto and with good direction of the actors. That said, there could have been better mass movement on-stage. The exit of the starving prisoners lacks credibility:@ they looked quite healthy, with two of them whose naked torsos told us more about the gym then the prison cell.

Sebastián Weigle was to the fore, following his bright performance in Meistersinger a month ago. On this occasion things were not quite at the same level. His reading was correct, but more than once I felt the need for more strength and vitality. There was no Leonore Overture, a decision probably due to stage direction. The opera overture was somewhat flat and with problems in the brass. The wonderful quartet of the first act was rather short on inspiration. Things improved in the second act, with a good dungeon scene and a bright finale. Altogether, a correct performance, although one can expect more Weigle. The Orchestra was good, but not at the level shown in Meistersinger. The very demanding choral part was very well covered.

The main protagonist was Finnish soprano Karita Mattila, who delivered a very good vocal and stage interpretation. She is completely familiar with the production and this was evident. In vocal terms, she was also a fine Leonore, always able to cope with the very difficult tessitura of the role, particularly in the aria “Abscheulicher”, where so many of her colleagues crash and burn. Some will prefer a more a dramatic voice than hers; not me though.

Clifton Forbis was again Florestan, repeating the role after he saved the performance at Teatro Real last year, when he substituted for Jonas Kaufmann. The lack of tenors in this repertoire is such that we are accustomed to accept anything. Forbis has a good middle register, but he is rather unpleasant in the upper part of the tessitura. He started with some quite interesting exclamations of “Gott” in the second act. However he ended up fighting with tessitura demands that finally defeated him. This was repeated in the final scene.

The Dane Stephen Milling offered a good Rocco, particularly in the middle and bottom registers but his upper part is not at the same level. Norwegian baritone Terje Stensvold delivered a convincing interpretation of Pizarro, but his voice lacks weight for a theater such as the Liceu. I do not believe that his voice is best suited to this hateful character.

Valencian Elena de la Merced was a good Marzelline, of attractive voice, although she should have controlled her voice more in the well known quartet. Matthias Klink was very good as Jaquino, whereas Swedish Anders Larsson as Don Fernando, while not lacking on nobility was short of volume. The two prisoners, tenor Airam Hernandez and bass Leo Paul Chiarot were excellent.

First performance and full house but little enthusiasm from the audience. At the final bows the triumph went to Karita Mattila. Very much applauded also were Milling and de la Merced, together with Weigle. There were sonorous boos for Clifton Forbis, who was consoled by Jürgen Flimm when he took his bow.

José M  Irurzun

Picture © Antoni Bofill

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