Zürich Opernhaus 09-07-2011
My second night at the opernhaus was quite different. First of all because I had plenty of time to arrive and gaze around the building, the building yard, and the view left around it. Then I discovered my horrible seat at the back of what they call a box, perched on a stool, with no view at all. I was not alone in that uncomfortable position but as I am rather small... the neighbour in front of me is naturally always huge, it was not even 'restricted'view I had to put up with it was no view what so ever! I politely asked the usherette if I could stand out until the lights turned down and move to the gods to stand and at least have a view of the stage. The answer was quite abrupt and negative, in Zürich, that is not done! So during the whole opera I stood and navigated from one side to another between the back of the two 'boxes' and managed to see a little bit. At the curtain calls I decided I had enough of this and stepped out in the passage way to at least take a few photos and enjoy the applause!
What was really great is the frienship which resulted between my neighbour and me sharing the same bad fortune! We had a nice chat and a drink afterwards!
I was so thrilled to be able to listen to La Scintilla this time under William Christie. I had seen them in Montpellier last october accompanying Cecilia Bartoli in her one 'woman' show Sacrificium! (I had seen her in Paris and had to see her again !)
The first scene which I managed to see by means of moving as I explained gave me the key-word of the evening: a fairy tale with Greek statues winking at us, Diana and her deer, cherub Eros with its arrow, and the turtle at the center of the fountain which opens up and transforms into a gilded 'fontis' where Elisa cups out water with her hand while wooing dear Aminta, which is after all going back to the beginning of the mythology, with the water power of the turtle. Not counting with Alessendro 's crowd, all satyrs in splendid clothes, like every one on stage. I was really amazed by the soft and beautiful tinges of all the costumes, the peaks being Alessandro's, Elisa's and Tamiri's ones. I had the impression of following some landscapes from Fragonard's paintings from one costume to another. This rococo fountain which is the departure of the dream like fairy tale reminded me of my visit to Tivoli and not long ago to Le petit Trianon, the two lovely girls looked like bone china sheperdesses who fooled around Queen Marie-Antoinette in her model farm just before the Revolution.. This heavenly setting where tulips appear and a nice flock with two black sheep (and no dog) greet us (even if they stink a bit...agenore made it clear that it was so), inhabited by XVIIIth century atmosphere and style made a gem for Mozart early musical beauties. Nobody is evil in this tale, not even Alexander the great! So love can be sung with refinement announcing later greater arias. I loved it. I came really to hear Rolando Villazon in a new role, tackling Mozart for the first time like he did with Monteverdi in Combattimento I heard live in Saint-Denis Cathedral. I was a bit confused by the harsh edges of his voice more noticeable because of the contrast with the other tenor's voice so smooth and used to baroque singing. Not that he was not good, it was different, not so elegant and aerial. But he had to be more martial being Alessendro the Great! So, he was as usual a great actor with funny attitudes, clowning a little with good taste (like throwing a biscuit and just putting one in his mouth when we all thought he would catch the one in the air...). The Scintilla was a pleasure and I particularly enjoyed the violin solo and duet between Ada Pesch and Aminta-M. Jankova Act II 'L'amerò, sarò costante:
Fido sposo, e fido amante
Sol per lei sospirerò.
In sì caro, e dolce oggetto
La mia gioia, il mio diletto,
La mia pace io troverò.
Her voice is gliding on the violin notes, it is a wonder..
(Do forgive the annoying crakles)
At some point I just gave up trying to 'see' and enjoyed the sweet Mozart's flow not even trying to read the surtitles (yes, they had those in English!) which was also quite a fight... but I would do anything to listen to Mozart on baroque instruments. That night I added to my collection of refined Mozart voices (where Sophie Karthaüser leads 'my' group): Aminta- Martina Jankova who was such a lively, nice looking and convincing shepherd -king to be! Elisa - Malin Hartelus, her dear lover was also very well matched with Aminta's voice. I found Agenore-Benjamin Bernheim very charming, both voice and attitudes, sometimes not really knowing what to do during all the rather long arias (in a sense of preparation, which I love listening to, introduced then developped, but not easily staged). The "star" had the applause he deserved, but I thought that the real 'singing' stars of this show were to my taste,B. Bernheim, M.Hartelus and by far M.jankova. But the absolute star was Mozart , William Christie and the Scintilla... plus this incredible house, well suited for Mozart.
il re pastore
Mozart
When
Sat, 9 July 2011 - 19:30
What
Opera
Ticket prices
VII: CHF 320.- / 250.- / 220.- / 98.- / 38.-, Student Tickets from IV: CHF 45.- / 33.- / 25.- / 20.- / 15.-
Venue
Opernhaus Zürich
Sung in Italian. With German and English surtitles
A cultural commitment of Credit Suisse
Conductor
William Christie
Director
Grischa Asagaroff
Set design and costumes
Luigi Perego
Lighting
Hans-Rudolf Kunz
Choreography
Stefano Gianetti
Featuring
Malin Hartelius (Elisa, nobile ninfa di Fenice, amante d'Aminta), Martina Janková (Aminta, pastore, amante d'Elisa), Sandra Trattnigg (Tamiri, filiuola del tiranno Stratone, amante d'Agenore); Rolando Villazon (Alessandro, re di Macedonia), Benjamin Bernheim (Agenore, nobile di Sidona, amico d'Alessandro)
The second Festival première on 4 July will be devoted to Mozart’s little-known “Il re pastore,” which will be performed for the first time in Zurich under the musical direction of William Christie. In Grischa Asagaroff’s production, designed by Luigi Perego, Martina Janková will be singing the role of Aminta, which was originally composed for the soprano castrato Tommaso Consoli. The star tenor Rolando Villazón will be heard for the first time in a new production at Zurich Opera House in an exciting role début as Alexander the Great.
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