Two in one…
Two stories, two
women: one born blind, the other blind in love. Seemingly unrelated … but what connects them is their obsessive relationship with a
domineering man. Does Treliński go as far as to suggest that
Judith is the mature Jolanta? I think perhaps…
Anna Netrebko - Jolanta, Photo: Metropolitan Opera
Nadja Michael - Judith, Photo: Metropolitan Opera
In Treliński’s
interpretation, the two operas represent different phases in the life of one
woman. Jolanta emerges out of physical darkness—and seeming innocence—into ‘light
and love’; Judith leaves behind all she knows, and throws herself back into
‘darkness’ because of blind love. Could it be the older disillusioned Jolanta?
We meet Jolanta
surrounded by her attendants, “trapped” in her “gilded” cage, a white room with
mounted deer heads. Is she lovingly cared for? Or a prisoner of an obsessed
Father who refuses to come to terms with her blindness?
I have many friends
who wax poetic about
the 2009 Baden Baden Jolanta by
Netrebko. Clearly it was the pre Lady Macbeth Anna. Here she is a mature woman,
with a strong voice, soaring above the melody. It is hard to envision her as
the vulnerable, confused, blind young woman Tchaikovsky had in mind. But wait…
here comes Vaudémont to the rescue (in more ways than one…). This
performance is all about Beczala! He seizes the moment and more! The story comes alive during the
knight’s encounter with Jolanta. Mr. Beczala’s silky tones align with the
beautiful, lyrical and romantic music of Tchaikovsky. Lovely also was the duet of Jolanta
and Vaudémont "Tvoyo molchanye neponyatno" (I do not understand your silence).
Anna Netrebko - Jolanta, Piotr Beczała-Vaudemont, Photo: Metropolitan Opera
Here
I know I should say something about Mr. Gergiev’s brilliance as a conductor. I
recognize it … but I am not a fan…perhaps one day he will see the ‘light’ and
be on the right side of history.
There
was the baritone Aleksei Markov as the Duke Robert, the man Jolanta is promised
to, but who now is in love with another. The bass is Ilya Bannik as King René, Jolanta’s stern Father, and he
baritone Elchin Azizov, as the mysterious Moorish Doctor - and others, all very
good; but…forgive me…all overshadowed by the brilliance of Piotr Beczala.
Photo: Metropolitan Opera
Many
of the staging elements appear again in “Bluebeards Castle”. This is essential
to Mr. Trelinski’s interpretation and in tying the two stories together. The ragged
floating trees with their roots exposed, deer heads decorate one of the rooms
in both operas.
Mr Terlinski turns the Metropolitan
Opera into ‘Bluebeard’s Castle’ by placing speakers throughout the
house. The creaking sounds, the murmurs, all create a sense of doom, and sexual
tension abounds.
Nadja Michael, ad Photo: Metropolitan Opera
In accepting the blindfold Judith surrenders to her husband
and despite his trying to distract her, insists on the keys that open all seven
doors. Her obsessive love takes us through all the rooms.
Loved the treasury scene (here a luxurious bathroom), where Ms. Michael’s nearly naked admires the jewelry, but recoils in horror when she discovers they are drenched in blood. Her acting and singing skills are obvious here. She has a clear, strong expressive voice. With her voice she was able to express the many emotions the character of Judith goes through, love, hate, curiosity, surrender. She like Piotr Beczała earlier, stole the performance. It doesn’t hurt that she is beautiful. The scene in the bathroom with its weeping walls and Ms. Michael in a fetal position is terrifying. Mikhail Petrenko, often off stage as Bluebeard and with his gravelly voice (that night?), was all but background for Judith’s turmoil. What I remember is “Judith kiss me…”, “Judith don’t open the door….”
Loved the treasury scene (here a luxurious bathroom), where Ms. Michael’s nearly naked admires the jewelry, but recoils in horror when she discovers they are drenched in blood. Her acting and singing skills are obvious here. She has a clear, strong expressive voice. With her voice she was able to express the many emotions the character of Judith goes through, love, hate, curiosity, surrender. She like Piotr Beczała earlier, stole the performance. It doesn’t hurt that she is beautiful. The scene in the bathroom with its weeping walls and Ms. Michael in a fetal position is terrifying. Mikhail Petrenko, often off stage as Bluebeard and with his gravelly voice (that night?), was all but background for Judith’s turmoil. What I remember is “Judith kiss me…”, “Judith don’t open the door….”
Mikhail Petrenko, Nadja Michael, Photo: Metropolitan Opera
I
loved the mix of cinematography, the video, the stage effects and the traditional
and the modern, the beautiful singing. Loved the blue dresses. Jolanta’s a
dress of the 50’s, sweet. Judith’s is sophisticated, sexy…It all should play
very well during the HD broadcast.
Here
again I should say something about Mr Gergiev’s conducting, but I can’t. I was
overwhelmed by Ms. Michaels’ presence, the impact of the sets …the sounds. Was
it because of the excitement, the
sense of foreboding? Or was the horror on stage not reflected in his direction
of the orchestra….were they upstaged by the director’s brilliance and Nadja
MichaeI’s overwhelming performance ? I will concentrate on the music (after all
it is Béla Bartók!) on Saturday…
29.1. 2015
Production:
Mariusz Treliński
Set Designer: Boris Kudlicka
Costume Designer: Marek
Adamski
Lighting Designer: Marc Heinz
Video Projection Designer: Bartek
Macias
Sound Designer: Mark Grey
Choreographer: Tomasz Wygoda
Dramaturg:
Piotr Gruszczyński
Conductor; Valery Gergiev
Jolanta: Anna Netrebko,
Vaudémont :Piotr Beczała,
Ilya Bannik: King René,
Alexey Markov; Duke: Robert,
Elchin Azizov: IBN-Hakia,
Mzia Nioradze: Marta,
Katherine Whyte: Brigitte,
Laura: Cassandra Zoé Velasce,
Matt Boehler: Bertrand
Nadja Michael: Judith , Mikhail Petrenko: Bluebeard
Curtain call photos: Gabriela Harvey
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