Beethoven : Fidelio

Munich, 2010 (Audio)

Director: Daniele Gatti

  • Jonas Kaufmann (Florestan)
  • Anja Kampe (Leonore)
  • Steven Humes (Fernando)
  • Laura Tatulescu (Marzelline)
  • Franz Josef Selig (Rocco)

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  •   Anja Kampe
    Anja Kampe
    This is not a typical Calixto Bieito´s show, although it emphasized once again his special ability to direct the show straightforwardly -- by driving your attention to many details, all closely related to the same message that hits directly to your (sub)conscience.

    Musically, to be honest, the show was not all that great.
    You all know that I like Daniele Gatti very much and I think his conducting of Parsifal was one of the best musical performance I've ever listened to. While the slow Parsifal helped us to feel the unexplored richness of its score [subtle sounds are usually embroiled in faster paced Parsifal's] and to expose the brilliance of the Bayreuther Festspiele Orchestra, the slowness in Fidelio diminished the dramatic intensity of the opera. To be more specific, for example Don Pizarro is expected to appear as an insane oppressor; in a slowly paced musical background his outbursts of rage get unfortunately diluted and lose their impact.

    I think I understood Gatti's intention: to be slow and subdued in Act-1, express the lifelessness and depression of what Bieito was proposing in his show, and then in Act-2 breath in more life and pace, to feel the hope kicking in the world of unhappy individuals. Alas it did not work! Gatti's too tamed orchestra appeared almost colorless (read boring) in Act-1, jeopardizing Anja Kampe's breathing more than once. Not surprisingly, when Gatti appeared in the pit before Act-2, he had to face an avalanche of boos from the crowd that lasted for nearly 2 very long minutes. In Act-2 his conducting improved drastically.

    As for the singers, to me, Anja Kampe was the best and judging from the enthusiastic response of the crowd I was not alone thinking so. She has a big rich voice, neatly sized for this very difficult role in tough conditions: Bieito's staging is physically exhausting, the sets are tricky to maneuver [requiring extra concentration], while Gatti's slowness made her job extremely difficult [in particular during Komm, Hoffnung, lass den letzten Stern.] She coped with all this admirably by taking risks (each time, tightening her fists.) A huge BRAVA to her!

    Jonas Kaufmann and Franz-Josef Selig were both very-very good as usual, although I thought they were a notch better a couple of years ago in their same respective roles at Opéra Garnier in Paris. It must have been particularly hard on Jonas: in his native Munich, with so much publicity about and around him, he needed lots of guts to sing Gott! Welch Dunkel hier! the way he does, while fighting a juicy cough between two stanzas. About his musicality and his engaging acting I wouldn't have much to add: I guess that's what makes him so good, in addition to his attitude of a humble team member instead of a star - which he is. Don't change Jonas!

    Laura Tatulescu is a fine young singer who in the beginning sounded a bit intimidated by the event but as the show progressed she got better and better -- in the end her voice was beautifully cutting through the chorus. Similar could be said for Jussi Myllys, an excellent young tenor, who we will be talking about in the years to come. Wolfgang Koch has the qualities of a dark rich baritone, which added to his good acting skills, shaped into a compelling Pizarro.

    What about the Bieito's show? While von Peter was building his show on a desire for tempered liberation from constraints of traditionalism, Bieito goes to his favorite subject and points at the forces manipulating our "post-modern" society in which the ideologies are pretty much dead, the society is driven by greed and money. In an individualistic society this struggle for "liberation" becomes individual too. Leonore is a woman who takes her destiny in her own hands and like a modern woman pulls her own strings of destiny. At some point it is she who literally pulls the strings attached to the whole maze -- which in a sense is a message that women today are more audacious then men. Not all of them, of course! Marzelline is an example of a young woman who -by her nature- is old-school and who struggles through life, who is manipulated and frustrated. Man (Florestan) is trapped in the world of expectations and desire to succeed, realizes the futility of it all and falls into passivity and hopelessness. He is afraid of any move, of anything that might change his life, but deep down insecure and eventually depressed. That's that struggle of the post-modern man: to free himself from that hopelessness.

    In Act-2, two shelves (labyrinths) will be further moved back, and the front maze is pushed to fall on its back [other dimension to the truth we believe we see] and we see other lost souls - men in suits, depressed, personalities imprisoned in the formated image who succeed in their lives (Rocco comes up occasionally with a suitcase full of money to throw). They carry large empty tags around their necks. There is a scene which I thought so "cruelly" depicted today's society: when Don Fernando appears in Act-2 ready to kill Florestan, all these men and women rose their tags (piece of hard paper) not to see the scene. They are concerned, but they prefer not to react, not to engage in any shape or form...

    The ending is of course modified. ;) Leonore (again a feminist reference!) throws an acid liquid in Don Pizzaro's eyes. She helps Florestan to dress up, to get rid of his PJ and to embrace life. She too needs to feel like a woman and jumps into a dress. Arrival of Don Fernando is the major twist in the game. He is not a savior and a symbol of justice... we are past that today: Don Pizzaro Don Fernando looks like Joker in Batman. He is a big manipulator who makes his big entrance by watching the show from a balcony next to the stage. He will enter to do what you would expect Joker doing: to kill Florestan! It will be a fake killing, just showing the world of individuals in which no-one wants to stand for another man, and exposing the weakness of a modern man -- Florestan -- who is now incapable to even fight for his own life.

    In the last part of the show there is a beautiful reference to the performing art and its role today. Three cages with musicians trapped in them were descending from above the stage down to the mid-height, and were pulled back after the performance was over.
    (Edited from Opera Cake

    Enlaces relacionados
    Daniele Gatti
    Jonas Kaufmann
    Anja Kampe
    Steven Humes
    Laura Tatulescu
    Franz Josef Selig