With the release of Gergiev’s recording of Les Troyens the discography
benefits from a persuasive, dynamic and convincing interpretation
of this famous score. Composed between 1856 and 1858 it was
given a partial premiere in 1863. Berlioz’s Les Troyens was
subject to cuts during his lifetime, such that the composer
never saw the first two acts performed. Since Berlioz’s lifetime,
the five-act opera has been divided into two parts, the first
La prise de Troie (acts 1 and 2) and the second Les
Troyens à Carthage (acts 3 through 5). Because of its scope
Les Troyens has been performed infrequently. The effort required
to mount a complete staging of the entire work is phenomenal.
A romantic adaptation of Virgil’s ‘Aeneid’, Les Troyens pushes
the limits of opera in many ways, and this recent production
by Palau de les Arts “Reina Sofia”, Valencia deserves attention
amongst other things for the effort that went into the multi-media
aspects.
Other DVDs of Les Troyens are available, including the recent
one from the 2000 Salzburg Festival (Arthaus) and from 2003
that by the Théâtre du Châtelet, Paris (Opus Arte).
While those sets reflect more conventional stagings, the present
DVD breaks convention in a modern rethinking that makes use
of elements of sport, science-fiction and abstract modernism
to re-envision Berlioz’s as a multi-media event. This resembles
in some ways the recent Ring cycle from the same theatre. That
also which also deployed projected film and other special effects
in a re-conception of another nineteenth-century epic. Tastes
will vary and some may view the aesthetic results as a mere
juxtaposition of modernism and tradition. At bottom, though,
the criterion is: how effective is this production and music-making
in conveying the meaning of the work.
In terms of the musical quality, the performances are outstanding,
starting with Gergiev’s exceptional leadership of this sometimes
sprawling score. The orchestral sound is clear and focused,
with a balance that allows the solo voices to be heard distinctively
and the chorus to be supported solidly. The recorded sound benefits
from the best aspects of studio work, without the sort of gaps
one otherwise hears when singers turn or encounter dead spots
on the stage. At the same time the stage machinery’s action
does not intrude upon the recording as occurs in some DVDs.
This allows Gergiev’s convincing interpretation to emerge readily.
As to the solo voices, the principals represent optimal casting
with Elisabete Matos embodying well the character of Cassandra,
and Gabriele Viviani comparable as Chorèbe. Their duet in the
first act “C’est lui!” shows the two in an admirable light.
Lance Ryan as Énée gives a strong reading of his part from the
start, with the recitative “Du peuple et des soldats”, a section
that benefits from the incisive way the singer approaches this
passage and others. As Didon, Daniela Barcellona’s interpretation
brings the nuance that characterizes her role, a crucial element
in the second part of the opera. The performance benefits from
the phrasing and articulation Barcellona contributes which,
in turn, allows the details of her character to emerge effectively
through the text and accompanying music. Barcellona is impressive
from her first entrance in the scene with chorus “Gloire à Didon”,
a point presented with sufficient pomp to work well. Yet her
duet with Énée that concludes the fourth act “Noit d’ivresse”
merits attention for the intimacy that emerges. Both Barcellona
and Ryan demonstrate exemplary ensemble. Barcellona sustains
her character through the climax of the fifth act, where Didon
commits suicide and with that act allows Énée to continue his
journey, an element that is implied in Berlioz’s score and is
all the more powerful for being implicit rather than blazoned
directly.
The chorus is also impressive because of its focused sound and
clear diction, elements that are key to this work. In this interpretation
the choral sound is dense in texture, even when the volume is
subdued or even soft. The text is always clear, thus allowing
the full effect of the crowd scenes where the masses are represented
by the chorus. The results are as impressive vocally as they
are visually.
As to that visual dimension, this has been described in the
New York Times (10 November 2011), as "Ancient myth meets
Star Wars” - a clever quip that does not do full justice to
the Valencia production. In presenting Les Troyens in this fantastic
setting, stage designer Roland Olbeter avoided some of the clichés
which come with implementing our images of mythic antiquity.
In doing so he makes free with space-age elements in the final
act, as it looks forward from ancient Carthage to the future
hegemony of Rome, a place Énée, the legendary Aeneas, has not
yet founded. Touches like the space walk of Iopas allow some
of the imagery to become concrete on stage, rather than remain
figurative. Such interpretive design accentuates the climactic
suicide of Didon with images of blood-red liquid flowing from
her in a fountain, with her costume forming the upper portion
of the structure.
Elsewhere the design makes use of filmed images to create some
stunning effects, as with the usually painted backdrops of the
sky - as found in the first part of act one - transformed into
dynamic images of billowing clouds moving freely in the space
behind the stage. Later in that part of the opera, the death
of Laocoön who is slaughtered by vicious serpents, is part of
the narrative. This is depicted by the impressive stage machinery
as a larger-than-life display that connotes the mythic intervention
of the Greek gods. Granted, it is not obligatory to include
a depiction of this scene, but it certainly contributes visually
along with the grandeur implicit in the story and in Berlioz’s
setting.
While trailers exist on the Internet and show in quick succession
a variety of the elements of this production, it is important
to view this staging in real time, to gain a sense of the pacing
of the stage effects, which fit well into the overall concept.
Not everyone may share in the appreciation of the Trojan populace
in soccer-style uniforms, but the overall impact supports the
concept of the production. Likewise, the use of stylized uniforms
offers a perspective on the military scenes in harmony with
the overarching structure. These and other elements take the
listener into the world of this score in ways that other, more
‘realistic’ approaches may not always do. As much as traditional
settings may offer some comfort, the imagery behind this innovative
reading complements the strong musical conception of Berlioz’s
Les Troyens which is, after all, the focus of all the effort.
This is powerful stuff and merits attention for a vivid performance
that works visually to allow scenes and entire acts to remain
in memory long after the final notes have faded.
James L. Zychowicz
Énée - Lance Ryan
[144:55 + 122:10] 
