Guest on Sofa: Gabriela Harvey on Un ballo in Maschera at the Met

 

Photo: MET

The  “Un ballo in Maschera” on Thursday 23, 2015 at the Metropolitan Opera provided an exceptional night, filled with great acting, vocal thunder, long ovations and unmatchable conducting. Was there anyone who did not love

Piotr Beczała (Gustav), Sondra Radvanovsky (Amelia), Dymitr Hvorostovsky (Renato), Dolora Zajick (Ulryka Arvidsson), Heidi Stober (Oskar), the Choir and the orchestra of the Metropolitan Opera under the baton of James Levine? A dream team! Mr. Levine is known for his support of singers and here the communication among him, the orchestra and those on the stage could not have been more evident.

Here, in my opinion, is what contributed to the success of the evening. I loved the delineation between the comedic (often campy) and tragic elements of the opera. Unlike many, I liked Paul Steinberg’s sets, well maybe not the austere, angular abstraction of Renato’s quarters. In Act III he confronts Amelia there and threatens to kill her. When he finally concedes and allows her to see their son, Amelia leaves. Oddly, she has to slither through a crack in the wall.  A bit awkward I thought.

 Photo:MET

I loved the scenery of the final masked ball scene, in which Gustavo is killed. The walls are lined with mirrors reflecting the light around the stage and extending it into the house. It felt as if we in the audience were also invited to the ball. In fact the first row of the orchestra sported a couple in full masked ball regalia. Was it a fan’s whimsy, or a director’s deliberate ploy? Brigitte Reiffenstuel’s costumes make Mr. Beczala’s Gustavo a dashing figure. I loved the raincoat, and the suit! (I hope he got to keep them!)

At the next performance (April 28^th) I noticed Ms. Radvanovsky was struggling with the zipper of her dress in Act III. I remembered her slipping out of the dress on opening night. The image of her in a white satin, full length slip was haunting. It was not to be, this time she remained half dressed… Later in the evening, back stage, I asked her about it and she confirmed the malfunction of the zipper. Frustrating no doubt, but it did not prevent her from singing her heart out, hitting every note and more. At the same performance just minutes before the curtain went up, we all (including the cast), learned that John Keenan would be replacing maestro Levine at the podium. But no one missed a beat!

For much of the opera the set is dominated by a large mural, showing the mythological Icarus falling from the sky, perhaps foreshadowing the fate of the King? I think that Mr. Beczala’s interpretation doesn’t exactly follow the interpretation of the Icarus myth. His is a benevolent, if a bit naïve King.

Much has been written by David Alden 2012 production. Many point out that his interpretation bears little resemblance to the original story.

Briefly, the story is one based on the real-life assassination of King Gustav III of Sweden in 1792. In Verdi's opera, King Gustavo is in love with Amelia, the wife of his closest friend and adviser, Count Anckarstrom, and she with him. Gustavo is told by the Count, his Page, Oscar, and a fortune teller that there is a conspiracy to kill him. He refuses to believe it. In an inevitable twist, Count Anckarstrom learns of the love between Amelia and Gustavo.  He then joins the conspirators and stabs Gustavo at the masked ball only to discover that there was no affair. Dying, the king forgives all…

Even if one disagreed with the interpretation of the story, and/or disliked the sets, you could not ignore the glorious singing and the first rate acting! We were all on pins and needles throughout the evening. Much was required from the singers. At one time or another they all sang lying down! I am old enough to remember the sensation Birgit Nilsson caused singing  "Vissi d'arte" lying down in “Tosca” at the old Met…might I add Franco Corelli was Cavaradossi and Gabriel Bacquier Scarpia… On the Thursday night premiere the Polish tenor Piotr Beczala sang with subtlety, perfect modulation and heart wrenching lyricism. From the Act I aria "Di tu, se fedele" to "Ma se m'e forza perderti" in the final act, his was an enormously likeable Gustavo. His is a strong voice, managing an effortless transition to the high notes, impeccable phrasing and elegance that cannot be matched. He looks the part, he acts the part and sings the part. Bravo! It is no wonder that he is the Met’s reigning tenor!

The soprano Heidi Stober, sporting a spiky hairdo, a goatee and a cigarette (also wings) was the King’s page Oscar. Her bright, clear soprano rang out with confidence with just the right amount of bravado, playfulness and assurance. The dance number engaging the King was a hoot!

 

Photo:MET

I know there are detractors of Sondra Radvanovsky’s voice, but, really, could one imagine a better Amelia? And yes, her voice is huge and often overrides the orchestra and her fellow singers.

In her opening Act II aria the bravos began – but it was the love-duet with Beczala that brought the house down. The chemistry was unmistakable, the acting superb, the singing exquisite, breathtaking! Many can’t wait for Radvanovsky’s Donizetti Tudor trilogy next season! Beverly Sills is the only one to have tackled that. (May I add that Mariusz Kwiecien willi join her as the Duke of Nottingham in Roberto Devereux.)

In Act III when she pleads with Renato to see their son one last time ("Morro, ma prima in grazia,”) she was incredibly moving. Her voice was perfect and her technique exquisite, voice soaring, full of regret and pain.

The respected mezzo-soprano Dolora Zajick (last season’s Ježibaba in Dvorák's Rusalka ) sang the role of the fortune teller Ulryka Arvidsson, her voice low, dark and ominous. She was masterful in balancing the comic element when she arrives in an overcoat, sensible shoes and a black bag, with the ominous aura of her warning to Gustavo about his assassination.

Dmitri Hvorostovsky, was Renato Amelia’s husband and the King’s confidant. Although adored by the Russian fans, he is not a favorite of mine. I recognize the power of his voice, his striking presence, and his acting skills, but for me it is always about Mr. Hvorostovsky and less about the character. A quality he shares with Mr. Grigolo. In all fairness he was a strong, if not terribly nuanced presence. His big Act III aria "Eri tu" ran true and brought the house down.

The choir was as always superb and the supporting cast on target. I don’t think we could have asked for a better evening…