Nationaltheater in Munich. 17 July 2013.
I think that has been this year that has produced me more satisfactions in Munich. It’s really extraordinary to have attended 5 from a total of 10 views of exceptionally high quality opera performances. Any fan would point to a result of this type, when it is normal that it is difficult to attend to outstanding representations in a percentage that goes beyond that of single-digit. Despite this excellent result, one cannot help feel a disappointment, when the last two shows of my stay have been under which it could be expected. In the case of the Rigoletto to which I now turn, is not that it has been below, it is simply inconceivable that Munich has been able to offer such show in one of the most popular operas in the repertoire. As evil never come alone, we’ve had two cancellations of importance, the protagonist, and the musical director, which are not exactly anything.
It seems that stage direction Munich has authentic Jinx with Rigoletto. The former production bore the signature of Doris Dörrie and was a horror which unfolded in the planet of the apes. Possibly, it was one of the productions of shorter life in Munich. It would not surprise me that the new production of the Hungarian Arpad Schilling last even less, since it is bad of solemnity. Rather, neither good nor bad, is not a scenic production.
The Hungarian work has not an idea, not a coherent story, not even somewhat attractive story for the senses. In my opinion qualify this as a Rigoletto representation stage is a mockery, when not a real fraud.
I assure you that I have seen many operas in concert version in which the scenic action was more important and coherent. This Rigoletto hardly becomes a concert version.
It must start by saying that in the program the name of Marton Agh is listed in the credits as responsible for scenography and costumes. There is no such. All the scenery is literally in two stands, in which the singers and helper sit during a good part of the opera, all expressionless white masks. Even in the abduction of Gilda the followers of the Duca still sitting on its steps. The costume consists of clothes walking Street, jeans for Gilda, a jersey for the Duke and Rigoletto, which here is not razorback, summer suit. Well, if not, it is not even Rigoletto. Christian Kass lighting can be which can be expected from a concert version. If anyone thinks I’m exaggerating, I’ll tell you that the artists sing their arias and duos on a small raised platform in the front of the stage, which is nothing else than the shell of the pointer. Sorry, the souffleur.
Anyone who has attended an opera musical test in a theatre knows that it takes place in a room, in which it is common to see the choir occupying a semicircular tiers, while the soloists occupy the front, street dresses and tend to not give the treble of their scores. This is exactly what happens with this production. The only time that the choir leaves the stands and is on stage is in the second Act, while Rigoletto sings about cortigiani, vil razza damnata. There are no more items throughout the opera scene to a wheelchair, that carried Sparafucile nobody knows what for, and that is where Gilda is killed, in a wedding dress- and oh, surprise – her father does not recognize her even that she is not stuck in a sack. Apart from this in the vendetta is a huge bronze horse brought by the extras and I’m affraid that they were wrong in the path to the circus. As it seems to be in fashion in Munich, Gilda does not die onstage, but she leaves, although with a dress very stained, because Maddalena uses too much paint not red, but black.
I’d rather not extend more, because it is not but to make advertising to a crappy production.
One of the attractions that had this Rigoletto was the living Fabio Luisi, who had just directed the opera in Zurich announced in the musical direction. As well, Fabio Luisi argued disease not to be in Munich. I would have done the same. In its place was our old acquaintance Friedrich Haider, who already had to suffer in Doris Dörrie’s Rigoletto production 6 years ago. The theatre should be grateful for having saved the representation, I do not agree with such gratitude, but rather quite the opposite I think. You do not need to say that we are witnessing a routine, and effective reading as it could not be otherwise. Also no need to say that all the cabelettas were made with a single verse.
Franco Vassallo, Franco Vassallo before becoming ill, although it is not the time of year that more viruses are on the loose around the world. Also I would have done the same. Instead we had to Polish Andrzej Dobber in Rigoletto, who did nothing but through open sounds all night, forcing continuously and off-key on more than one occasion. Of course, he escaped so many high notes as it was possible. One of the enigmas of this production is to know why Rigoletto appears for the latest scene dressed in ceremonial dress. These Hungarian…
Patricia Petibon French, made a Gilda Voice suitable and developed on the scene, although it is impossible that emotion can reach the viewer in these pseudo performing conditions. As it was an essay, also she escaped the sharp on the Caro nome.
Joseph Calleja was the best representation in il Duca di Mantova, powerful, bright and well Sung. Being a test as I’ve described above, also he escaped the passages in Addio, addio, speranza ed encourages and also did in his cabaletta Possente amor mi chiama. It is logical that is reserved for the representation, although I don’t know when this will take place.
Dmitri Ivashchenko walking Joseph Calleja Dmitri Ivashchenko doubled as Sparafucile and Monterone, being characterized exactly equal in both characters, anything logical, it is a test. Let’s say that he played well.
Nadia Krasteva also doubled as Giovanna and Maddalena and was no more than discreet. Of course vocally, because on scene was a bit exaggerated.
The secondary characters were difficult to identify, since all were equal and wore the same masks. We had to follow the stature and the timbre of the voices. They were Tim Kuypers (Marullo), Francesco Petrozzi (Borsa) and Christian Rieger (Ceprano). It was there a girl in jeans (Iulia Maria Dan) which I believe was the Countess Ceprano, judging by the phrase that he sang.
Theatre posted the no tickets available. Public less chearing than on other occasions, but at the end they could not resist. The most welcome were Calleja and Petibon, but I got to hear some bravo to Dobber.
Representation began with 5 minutes late and with the presence of Nikolaus Bachler commenting on cancellations, which were received with applause. Poor you, what was waiting for you!
The representation had a total time of 2 hours and 28 minutes, including an intermission. Musical duration of 1 hour and 54 minutes. The final applause lasted for 9 minutes. Incredibile ma vero.
The most expensive entry costed 163 euros, also having locations in the patio of armchairs by 142 to 117 euros. In the upper floors prices descended to 39 to 91 euros.
Jose M. Irurzun
Traducción al inglés por: María Garcia-Rosado