Bluebeard's Castle/Erwartung - Best production in Seattle Opera history?
Obviously I can't say that the double-bill production of Bluebeard's Castle and Erwartung that opened up this evening is the greatest in Seattle Opera history, as Seattle Opera history predates my birth, and I've only been going to Seattle Opera on a regular basis for about six years now.
However, it is easily the greatest evening of opera I have ever had round these parts.
Bluebeard's Castle (Seattle Opera premiere)
Prologue: Arthur Woodley
Bluebeard: John Relyea
Judith: Malgorzata Walewska (debut)
Erwartung (Seattle Opera premiere)
The Woman: Susan Marie Pierson
Actors (both operas): Noam Markus, Jordan Gasparik, Mark Johnson (all debuts)
Conductor: Evan Rogister (debut)
Original production by: Robert Lepage (debut)
Stage director: Francois Racine (debut)
Set/Costume Designer: Michael Levine (debut)
This is, of course, the famous Lepage production that was first seen at the Canadian Opera Company in 1993, and has been touring around ever since. I frankly cannot imagine a better staging of these two surreal, symbolist works. In Bluebeard's Castle, the castle is represented by a pair of looming walls with an ominous gate upstage, and the lake of tears downstage. The door are represented by projections of keyholes, and when each door is open, an appropriate colored light or projection is seen on the opposite wall. After the final door is opened, and Bluebeard's other brides appear, the method in which they appear is so original and surprising, there were audible gasps of surprise in the house.
And as amazing as Bluebeard's Castle was, Erwartung was even better. The music conjures up images of an overheated, oversensualized night, and so, there were images of the moon rising and setting with unsettling speed. Three actors, representing the woman's lover, the lover's mistress, and the woman's psychiatrist, appear and disappear as if in a dream, sometimes seemingly defying gravity.
The singing was of a very high standard: my favorite of the evening was probably Miss Walewska as Judith, whose high mezzo soprano rode high over the orchestra during the awesome fifth door sequence. Mr. Relyea's Bluebeard was vulnerable and human--sadly some of his low notes were not very audible.
In the Schoenberg, Miss Pierson maintained a constant air of hysteria, while still sounding fresh of voice (apparently, in the past she has sung both halves of this production, which seems a very tough row to hoe).
The debutant conductor was the impossibly young-looking Evan Rogister, a late substitute for the currently ailing Vjekoslav Sutej. The Seattle Symphony sounded wonderful in these two operas, and he appeared to favor a good balance between orchestras and singers.
In sum: RUN to the box office. This is a stunning double-bill of classic 20th century operas that have never before been seen in Seattle and, I fear, will never be seen again. Please don't be afraid of the "modern music." While the Schoenberg may be thorny, it's not that far beyond the late-late romanticism of Salome or Elektra--and Bluebeard's Castle is full of wonderful melody.
The singing and playing by themselves are admirable reasons to go see the double-bill, but the phenomenal staging makes this the greatest production I have ever seen in Seattle Opera, and one of the greatest nights I have ever spent in any opera house.
However, it is easily the greatest evening of opera I have ever had round these parts.
Bluebeard's Castle (Seattle Opera premiere)
Prologue: Arthur Woodley
Bluebeard: John Relyea
Judith: Malgorzata Walewska (debut)
Erwartung (Seattle Opera premiere)
The Woman: Susan Marie Pierson
Actors (both operas): Noam Markus, Jordan Gasparik, Mark Johnson (all debuts)
Conductor: Evan Rogister (debut)
Original production by: Robert Lepage (debut)
Stage director: Francois Racine (debut)
Set/Costume Designer: Michael Levine (debut)
This is, of course, the famous Lepage production that was first seen at the Canadian Opera Company in 1993, and has been touring around ever since. I frankly cannot imagine a better staging of these two surreal, symbolist works. In Bluebeard's Castle, the castle is represented by a pair of looming walls with an ominous gate upstage, and the lake of tears downstage. The door are represented by projections of keyholes, and when each door is open, an appropriate colored light or projection is seen on the opposite wall. After the final door is opened, and Bluebeard's other brides appear, the method in which they appear is so original and surprising, there were audible gasps of surprise in the house.
And as amazing as Bluebeard's Castle was, Erwartung was even better. The music conjures up images of an overheated, oversensualized night, and so, there were images of the moon rising and setting with unsettling speed. Three actors, representing the woman's lover, the lover's mistress, and the woman's psychiatrist, appear and disappear as if in a dream, sometimes seemingly defying gravity.
The singing was of a very high standard: my favorite of the evening was probably Miss Walewska as Judith, whose high mezzo soprano rode high over the orchestra during the awesome fifth door sequence. Mr. Relyea's Bluebeard was vulnerable and human--sadly some of his low notes were not very audible.
In the Schoenberg, Miss Pierson maintained a constant air of hysteria, while still sounding fresh of voice (apparently, in the past she has sung both halves of this production, which seems a very tough row to hoe).
The debutant conductor was the impossibly young-looking Evan Rogister, a late substitute for the currently ailing Vjekoslav Sutej. The Seattle Symphony sounded wonderful in these two operas, and he appeared to favor a good balance between orchestras and singers.
In sum: RUN to the box office. This is a stunning double-bill of classic 20th century operas that have never before been seen in Seattle and, I fear, will never be seen again. Please don't be afraid of the "modern music." While the Schoenberg may be thorny, it's not that far beyond the late-late romanticism of Salome or Elektra--and Bluebeard's Castle is full of wonderful melody.
The singing and playing by themselves are admirable reasons to go see the double-bill, but the phenomenal staging makes this the greatest production I have ever seen in Seattle Opera, and one of the greatest nights I have ever spent in any opera house.