If you accept that
there is such a thing as a crackingly good conventional production
then this is undoubtedly one of that genre. What is offered
is conventional but provocative staging, great sets and lighting,
music pacing and delivery. Together they serve to squeeze all
the emotions and extract stimulating singing. No, it is not
perfect, but for me, a conventional old soul, this DVD comes
very close.
James Levine conducts
an opening prelude that in places is almost ‘mannered’. He plainly
and rightly enjoys bathing in the reflected glory from an orchestra
that delivers a remarkable clarity of sound – and there are
no exceptions to that. For ninety-nine per cent of the time
the orchestra supports the singers marvellously, now pianissimo,
now forte. The only time they become just a little carried
away is in the great double aria of Act I for Domingo (Stiffelio)
and Sweet (Lina). For the rest they are tightly disciplined
with excellent dynamics.
To digress for one
moment, the accompanying booklet contains various photographs
including one of a very energetic and flamboyant Levine. Fascinating
because, watch him during the prelude and for the most part
this is a seriously relaxed conductor who knows just how good
his orchestra is and can stand there just flicking his baton
– and for much of the time with that hint of a smile and evident
enjoyment.
This is one of Verdi’s
rarely produced operas. Indeed one he himself ‘re-worked’ after
its initial failure when it became Aroldo. It was asking
much in the 1850s to think that the censor would accept a plot
based on a small religious sect whose leader (Stiffelio) returns
to find his wife (Lina) has had a fling with one of his flock
(Raffaele); whose right hand man (Jorg) identifies to him the
wrong man (Federico) as the seducer; whose father-in-law kills
the correct seducer; who himself is wracked by, and does not
resolve, the conflict of priestly forgiveness and personal grief.
Throw in love letters burnt, an assignation letter destroyed,
a suicide note and an on-stage divorce. Add that the opera story
is not the clearest; there is no opening chorus; the closing
scene has little melody and that there is no conventional youthful
tenor/soprano love-match worked out on stage. On the other hand
there is a high level of emotional realism. No way would a catholic
censor be happy with that – any more than the audience. So it
proved and the opera accordingly disappeared for about a century
until a revival in the 1960s.
Whilst watching,
listening and thinking about that, another digression is to
play ‘Spot that tune’. How many motifs or musical effects can
you spot which appear in Verdi’s other works? I was going to
write “Answers please on a postcard to the editor” but times
have moved on since that phrase was in regular use so to avoid
any difficulties: no answers and no email. Just listen and enjoy
it.
It would be impossible
not to enjoy and appreciate Domingo’s vocal power and stage
charisma: perfect casting. Vocally he lights the stage with
that totally distinctive voice which carries to every corner.
This event was recorded some 14 years ago when his voice was
at its peak sporting a full yet so smooth sound, ringingly clear,
authoritative and with excellent enunciation. This is not a
‘Stand and Deliver’ performance. Domingo leads with strong acting
skills and emphatic inter-action with ‘his flock’.
I wish that I had
the same enthusiasm for Sharon Sweet (Lina). I must be careful
not to cross the line of political correctness here. Whilst
she is not a sylph-like soprano she does have a powerhouse of
a voice. That is fine but whilst she can produce a smooth cream-laden
sound in middle and lower register, and a delightful forte
on high, when that forte becomes fortissimo, there
is a harshness that I do not find comfortable. In the opening
sextet she is almost competitive in what appears to be her delivery
of maximum volume with consequential loss of tone. As the scene
progresses and the volume is reined back there is serious beauty
of tone to be heard. So it also proves in her opening aria of
Act II and again in her emotionally devastating plea to her
(ex)husband to listen to her not as (ex)husband but as her priest.
Vladimir Chernov, a Metropolitan favourite,
sings the role of Stankar – not the easiest for demonstrating
versatility because Stankar spends most of the opera in a state
of irritation if not high anger. This is a ramrod straight-backed
acting performance as an old colonel with a finely focused voice
that is firm, forthright and fulsome. His solo almost lyrical
cantabile at the opening of Act III is a joy to listen to and
watch. Here we have vocal and dramatic versatility with strong
dynamics from a man in “… a rapt ecstasy that comes close to
madness …”. It is depicted perfectly. His interplay with other
characters is dramatically and vocally excellent.
Jorg is sung by
Paul Plishka – at the date of this production progressing towards
becoming a veteran bass at the Metropolitan. This is an example
of strong casting with a solidly professional performance of
a comparatively small part. My only reservation relates to a
touch of vibrato, or too much vibrato, on sustained
notes. However he delivers the powerful sound of gloom for the
opening and, at various points in the opera, vocally reminds
Stiffelio of the power of the church with his almost sepulchral
tone.
Peter Riberi is the seducer Raffaele, confusingly
also referred to as Leuthold in the libretto. It is a small
part and when singing alone, Riberi seems to me to have a tendency
to shout his notes - making it difficult to appreciate the tone
produced.
Margaret Lattimore
despatches the role of Dorotea with a clear sparkling sound.
Look out for Charles Anthony singing Federico di Frengel. A
tiny part which he sings effortlessly. An artist who in 2006
completed fifty-two consecutive seasons at the Met. An astonishingly
solid professional career.
The chorus are on
fine form and very noticeable for the effectiveness of their
‘church choristry’: the psalm at the end of Act II produced
with just the right pathos and the final brief repeated sounds
in the Church in the last scene.
I particularly enjoyed
the sets and costume design. It opens with a long table across
the stage and a screen behind with five openings with doors.
Whilst we are in Stankar’s castle hall, it takes no great leap
of the imagination to see an altar table and a chancel screen.
The glass doors occasionally distract in that one can see movement
behind them. However they are a perfect place for Riberi to
stand to overhear the ‘divorce’ scene between Domingo and Sweet
and for us to see him. The ancient, almost mystic graveyard
with atmospheric lighting sets Act II perfectly whilst the gothic
Church of the last scene with its massive pulpit is an ideal
setting for Domingo’s final, and unresolved, man/priest conflict.
The camera direction
is superb. At no point did I find myself wishing to look at
a different singer or at a different part of the stage or to
have a general view or a close up. They all followed seamlessly
and appropriately for the events on stage. This is camera direction
or shot-cutting by a very sympathetic and understanding team.
My only criticism
of the slim booklet is the repetition of the track-titles and
characters first as a simple list and second with that list plus
a synopsis. But let me not cavil at comparative trivia. This is
a thunderingly good DVD of a splendid conventional production
that brings out the many facets of one of Verdi’s lesser known
operas.
Robert McKechnie
see also Review
by Robert Farr October RECORDING
OF THE MONTH
Stiffelio,
Ahasuerian preacher – Plácido Domingo (tenor) 
[116:00]
