Sparse information
on this one, only six characters listed
… documentation on these Brilliant Classics
DVDs is distinctly under-par. That said,
there is much to enjoy when you actually
watch and listen to the opera, even
though this would, I am sure, never
be anyone’s first choice. Lack of subtitles
will prove a massive hindrance for non-German
speakers in this of all operas where
the libretto is so on-the-ball. The
brief synopsis provided hardly cuts
it.
The shots of audience
in the coming into the foyer and milling
around is presumably to get one in the
mood (as is the sound of the orchestra
warming up). Eminently dispensable …
When we do get to the
opera proper, the famous opening gives
cause for concern. There is immediately
a sense of struggle in the strings (nice
horn whoops though).
The staging throughout
is fairly simple and in common with
other items in this series, unlikely
to ruffle too many feathers (a rotating
set enables quick changes of scene).
Whites and creams give an aura of decadence
to the (smallish) stage. Nice, too,
that the voices of the Marschallin and
Octavian are timbrally differentiated
(Whitehouse’s Marschallin is somewhat
edgier than Komlosi’s Octavian). In
fact it is Octavian who impresses more
in this first scene (‘Wie du warst’
is lovely, as is ‘Ich bin dein Bub’).
In the end, they visually work together
too, cavorting most improperly! The
pacing here is convincingly done by
Neschling; there’s almost a Mozartian
- Figaro-isch - feel to the dramatic
impetus. Both Marschallin and Octavian
act well; Octavian having a slight edge
here. It has to be said that it is the
Octavian who really goes for it towards
the end of Act 1.
Enter Baron Ochs of
Lerchenau sung by Daniel Lewis Williams.
Williams looks young for the part possibly,
but he carries himself extremely well
and sings excellently. It is a pity
that the strings make a hash of their
rapid accompaniments around this point.
He has a big voice, with a great top
voice that shows little or no sense
of strain and his exchanges with the
Marschallin later on in Act 1 are a
highlight of the act.
The Italian tenor is
fun, singing from atop a white dais
- he certainly sounds like a parody.
But possibly most impressive of all
is the Sophie of Desirée Rancatore,
superbly secure in pitch. Sophie and
Octavian together in Act 2 are a joy.
Act three brings excellent
performances from the principals. Rancatore
and Whitehouse are especially impressive,
while Williams projects Octavian’s character
well. The final scenes are well done
allowing for the fact that Komlosi gets
just a little carried away. The beginning
of the famous Trio is lusciously sung,
but there is an over-riding delicacy
thanks to Neschling in the pit. Camera-work
is on the gimmicky side here, though,
with Octavian and the Marschallin juxtaposed
even though they are spatially displaced
on-stage.
Acting is fairly
impressive throughout although the Act
2 duel is cruelly and obviously stage
- a thing of comedy. If I’d have gone
to the opera-house for the evening,
I would consider this an overall success
and not felt short-changed. At home,
it is slightly different.
Colin Clarke
Massimo Theatre Orchestra/John Neschling. 
BRILLIANT
CLASSICS - THE OPERA SERIES 92271 [210’00]