A highlight of the Handel commemorative year (250th anniversary of death) was the Salzburg Festival’s first-ever staging of Handel’s oratorio “Theodora” of 1750. Christof Loy, who was voted “director of the year” three times by the prestigious journal “Opernwelt”, created a production that is, in his words, “almost as an installation”, and groups his characters around the remains of a gigantic organ in situations that echo the libretto’s tragic dilemma of love, faith and virtue. His concept is supported by the vigorous Ivor Bolton and the Freiburger Barockorchester playing on original instruments, the Salzburger Bachchor, and, above all, by a fine cast. It is led by the luminous Christine Schäfer as a Theodora who “perfectly encapsulates the heroine’s combination of fragility and defiance” (AFP), and countertenor Bejun Mehta, who “excels as Theodora’s lover Didymus” (The New York Times).
Il Mondo della luna
It was an ideal constellation for an extraordinary musical event: the coincidence of the Haydn anniversary year with the 80th birthday of Nikolaus Harnoncourt. The universally acclaimed specialist of the Viennese Classical era chose a work by Haydn for his birthday tribute, ‘Il Mondo della Luna’. The dramma giocoso of 1777 is a delicious mixture of satire, comedy and science fiction based on an immensely popular comedy by 18th-century dramatist Carlo Goldoni.
Idomeneo, Re di Creta (Mozart 22)
Written for the court of Munich in 1780/81, “Idomeneo” is often regarded as the first of the seven undisputed masterworks in Mozart’s dramatic oeuvre. Never before had he cast such bold, impassioned music into a dramatic form or devised such a well-calibrated dramaturgy. Was it the plot that drove Mozart to such extremes of expressive power? The story evokes countless other opera seria subjects: King Idomeneo has promised to sacrifice to Neptune the first person he meets if he is saved from shipwreck; this turns out to be his son Idamante, who stands between two women, the Trojan Princess Ilia, whom he loves, and the Greek princess Elettra, who loves him. Four people on the edge of the abyss, drawn together by passion, torn apart by reasons of state… Though respecting the tenets of opera seria, Mozart repeatedly burst out of the rigid corset of the genre. Arias are heightened by unexpected twists and turns, accompagnato recitatives reach unheard-of levels of jagged emotional rawness, and stereotyped set pieces such as the vengeance become entire scenes in themselves. Mozart also treats the instruments in a far more liberal and imaginative manner than ever before, blending the voices with solo instruments and creating new tone colors that prefigure the Romantic era. Such an extraordinary work deserves an exceptional interpretation. And this is ensured by Sir Roger Norrington and the Camerata Salzburg playing on an “island” (the action unfolds on Crete) surrounded by narrow ramps on which the singers, literally “on the edge of the abyss,” pace about in search of one another, of love, of redemption… Simplicity and elegance stamp both the production of Ursel and Karl-Ernst Herrmann, and the playing of the Camerata Salzburg. Norrington entices entire catalogues of nuances from his players, but never yields to manneristic over-refinement. His Mozart is slender and suave, rigorous and concise. Under his baton, the soloists blossom. First and foremost is Ramón Vargas as Idomeneo, who colors his despair with exquisite delicacy and rousing bravura. Magdalena Kozená is a passionate, glowing Idamante and Ekaterina Siurina a lyrical Ilia. As Elettra, Anja Harteros triumphs with dramatic fire and intensity. Every inch a noblewoman, she hurls out her vengeance aria with repressed fury rather than scenery-chewing theatrics. They and their colleagues Jeffrey Francis, Robin Leggate and Günther Groissböck, along with the Salzburger Bachchor, lend their artistry to this unforgettably intense performance.
Il Re Pastore (Mozart 22)
Critics were unanimous in their praise of the opening production of the Mozart 22 project at the Salzburg Festival 2006: the premiere of the serenata “Il rè pastore” K. 208. It was composed in early 1775 for the visit to Salzburg of Archduke Maximilian. As in “La finta giardiniera” of the previous year, it takes up the motif of the trials of love and virtue in a pastoral setting. The shepherd Aminta unexpectedly learns that he is the rightful heir to a kingdom. Initially delighted to become a king, Aminta loses his enthusiasm when he learns he must marry Tamiri instead of his beloved Elisa. Thomas Hengelbrock, the production’s director and conductor, gives eloquent voice to Mozart’s tale with his Balthasar Neumann Ensemble, which plays on original instruments (including an early “fortepiano” instead of the traditional harpsichord as continuo instrument). At 19, Mozart was no beginner, and his next work was to be “Idomeneo,” which is generally considered to be his first operatic masterpiece. In “Il rè pastore,” it is amazing how Mozart manages to infuse life into the rigid conventions of the opera seria genre. There is dramatic impact and emotional depth, for example in Aminta’s rondo “L’amerò, sarò costante” with obbligato solo violin; and there are poignant depictions of inner torment, as in Agenore’s great aria supported by four natural horns. The music is a panorama of contrasting colors, a kaleidoscope of changing moods that are given a sharp and brilliant profile in this performance. Hengelbrock underscores the youthful freshness and liveliness of the score by keeping the singers on stage during the entire performance. They change costumes and apply make-up in two curtained-off cubicles, emerging to watch their colleagues’ performances. And although the performers are always in action, the character of the production remains intimate, almost concert-like. Hengelbrock explains this from a historical viewpoint: “Our stage version guides itself on the circumstances of the premiere, which took place [in April 1775] at the Archbishop’s Residence and not in a theater.”
Il Sogno di Scipione (Mozart 22)
The genre of “Il sogno di Scipione” hovers between opera seria and oratorio. Devoid of psychological development or even dramatic conflict, it centers on Scipio, who dreams of two beautiful allegorical women: Fortuna (Fortune) and Costanza (Constancy). The two women both try to win him over. Ultimately, Scipio has to choose one, and his choice falls, unsurprisingly, on Costanza. The Mozart 22 production of “Il sogno di Scipione” (Scipio’s Dream) adds two more superlatives to the already stunning list of this project’s matchless achievements. The musical direction is in the hands of the youngest conductor of all Mozart 22 works, Robin Ticciati, born in 1983; and it is most likely the very first staged performance ever of this work, which was not given its first full-length concert premiere until 1979, at the Salzburg Mozartwoche. Based on a libretto by Pietro Metastasio, like “Betulia liberata,” “Tito” and “Rè pastore,” the azione teatrale was composed between April and August 1771. Although it was intended for Archbishop Schrattenbach, he died before the work was completed. Director Michael Sturminger has devised a light and witty staging with artists from the Klagenfurt Municipal Theater. He transposes the action to what looks like a large suite in a luxury hotel. Gone are all traces of pallid allegory in the depictions of the two women: Fortuna (a warmly intoning Bernarda Bobro) is a vamp and seductress in revealing dresses; Costanza (a dazzlingly virtuoso Louise Fribo) is the sensible housewife and mother who, however, hasn’t forgotten how to turn on her man. To help guide Scipio back on the path of virtue, Sturminger has Costanza trot out the couple’s two cute little children… Musically, the work flickers with flashes of genius that prefigure the later operatic master. Already self-confident in his treatment of emotions, Mozart relishes his chance to formulate breathtaking vocal fireworks as his protagonists grapple with lust, desire and virtue. Thanks to Blagoj Nacoski, the title role stands out for its brilliance and clarity. British conductor Robin Ticciati leads the chorus of the Klagenfurt Municipal Theater and the Carinthian Symphony Orchestra with irrepressible verve.
La Clemenza di Tito (Mozart 22)
Mozart was still working on “The Magic Flute” when he was commissioned to write a festive opera for the coronation of Leopold II in Prague as King of Bohemia on 6 September 1791. Though in poor health, he accepted, even though he had little more than four weeks to write it. He immediately had Metastasio’s text revised by the poet Mazzolà, who not only built in the duets, trios, quintet and sextet that Mozart needed to hone the work’s emotional veracity, but also brought the abstract political dimension down to a human, emotional level. From a lofty reflection on politics and justice, it became a conflict between friends and lovers. Emperor Titus plans to marry Berenice, thus arousing the rage of Vitellia. She urges Sesto, who loves her, to lead a revolt against Titus. After further complications, Titus resolves to marry Vitellia. Vitellia tries to stop Sesto, but in vain: he has burned down the Capitol and tried to kill his best friend Titus. The Emperor escapes, but, surrounded by manipulation and betrayal, the future seems bleak¿ This opera seria, Mozart’s very last opera, is both a distillate of late 18th-century opera as well as an anticipation of the 19th-century opera with its tormented heroes. Director Martin Ku¿ej tells the story straightforwardly, digging into the substrata of the work to bring out the complex psyches of the characters, their neurotic impulses, their sexual drives and the motives of their intrigues. Ku¿ej’s “Clemenza” is a mad whirl of love, murder, arson and rebellion. He is ably supported by the Vienna Philharmonic under Nikolaus Harnoncourt, and a stellar cast that proves just how much flesh and blood pulses through this work. Michael Schade, one of the most exciting lyrical tenors of today, is a Titus who sings with fire and dignity. The dramatic soprano Dorothea Röschmann, who made her international breakthrough in Salzburg in 1995 as Susanna (“Figaro”) under Harnoncourt, portrays Vitellia as a power-hungry schemer with a broken soul. The incomparable mezzo Vesselina Kasarova paints her Sesto with all the passion and torment of a lover forced to betray his best friend. On a par with them are Aleksandra Kurzak (Servilia), Malena Ernman (Annio) and Luca Pisaroni (Publio). Premiered in 2003, this production of “Tito” was universally acclaimed as a musical and dramatic triumph in its 2006 reprise within the Mozart 22 cycle.
Irrfahrten I: La Finta Semplice (Mozart 22)
The Irrfahrten (Odysseys) trilogy comprises three independent, self-contained performances that are motivically interwoven into a compelling whole through a great variety of references. Various artistic genres – music, theater, dance and video – are fused into an original form of music theater that could very well point to the future. The trilogy was conceived by Joachim Schlömer, a noted dancer, choreographer and director. He sees his project as the “odyssey of an artist from external control to self-determination.” (Schlömer) This concerns not only Mozart himself, but also the artist in general, and, by extension, everyone who has overcome a crisis in their life to achieve their personal freedom. At the beginning of the trilogy is the twelve-year-old Mozart’s first opera buffa, “La finta semplice” (The Make-Believe Simpleton), a full-length opera with commedia dell’arte-style characters. “The music,” says Schlömer, “tells of wanting something – even if the characters still don’t really know what they want.” The second Odyssey, “Abendempfindung” (Evening Sensation), a pasticcio of Mozart arias, songs, instrumental pieces (including some for the rare and evocative glass harmonica) and letters. The great Ann Murray is the featured performer here. The third Odyssey, “Rex tremendus” presents a thought-provoking combination of two opera buffa fragments, “Lo sposo deluso” and “L’oca del Cairo,” along with various unfinished pieces and fragments from Mozart’s last work, the Requiem. It represents the artist’s ultimate liberation from the restrictions and conventions of society, his farewell from the world, in total darkness… Schlömer on his Odysseys: “It is about the path the artist follows from his entrance into adult life to a period of artistic crisis, comparable to the midlife crisis we all go through, and on to a fragmentation and liberation from all interpretation of the artist’s activity.” Irrfahrten / Odysseys is one of the most illuminating productions of the Mozart 22 cycle, one that makes Mozart’s genius shine in all of its facets.
Le Nozze di Figaro (The Marriage of Figaro) (Mozart 22)
Anna Netrebko, Christine Schäfer, Dorothea Röschmann, Bo Skovhus and Ildebrando D’Arcangelo under the direction of Nikolaus Harnoncourt and accompanied by the Vienna Philharmonic – this “Marriage of Figaro” is a feast for musical gourmets. Of all the Mozart 22 productions of the Salzburg Festival’s Mozart year 2006, “Figaro” is no doubt the most popular, both among connoisseurs and amateurs – perhaps because it is above all a triumph of superior music-making. The story is well-known, the work is fast-moving, witty, touching and vibrant. Based on a politically and socially explosive comedy by Beaumarchais, but toned down by Mozart’s librettist Lorenzo da Ponte, it treats the topic of love, lust and justice among the various classes: nobility, indentured servants and the rising bourgeoisie. The joy of the work lies above all in its characters, which are perhaps the most “human” human beings to be found on the opera stage. Harnoncourt’s musical concept is meticulously worked-out, interpreted with a wealth of subtle nuances and, with respect to the madness of the romantic intrigues unfolding on the stage, nothing less than thought-provoking. Director Claus Guth’s staging fits the music like a glove: there are no farcical elements or slapstick; he takes each and every character seriously. He sees the ensembles and arias as emotional rooms that are to be opened by the director. Everything takes place in Count Almaviva’s summer residence – a place devoid of furnishings but filled with erotic energy. The most erotically charged role in the opera is that of Cherubino, and with Christine Schäfer, Cherubino became the fulcrum of the performance, a luminous, dazzlingly virtuoso singer and consistently poignant actress – perhaps the vocal discovery of the Mozart 22 project. The celebrated Anna Netrebko proves her greatness by harnessing her sensual soprano to make it fit seamlessly into the ensemble. Bo Skovhus and Dorothea Röschmann give realistic and intense accounts of the Count and Countess as they movingly depict their “scenes of a marriage.” Finally, Ildebrando D’Arcangelo employs his powerful bass baritone to give authority to the work’s title role.
Lucio Silla (Mozart 22)
Following the success of his “Mitridate,” Mozart received another commission to write an opera for Milan, a dramma per musica in three acts. He began working on “Lucio Silla” in late 1772, while on his third trip to Italy. Although the rehearsals were fraught with problems caused by recalcitrant singers, the work was nevertheless given 26 performances to full houses. Yet despite this success, “Lucio Silla” was the last opera Mozart wrote for Italy. “I see it as a kind of political thriller, the story of a plot against an inhuman regime. […] ‘Lucio Silla’ is, in my opinion, one of the few truly political pieces by Mozart.” Director Jürgen Flimm conceived his production accordingly, delivering a taut and often breathtakingly raw interpretation of the story of the dictator Lucio Silla. Although the action unfolds in ancient Rome, Flimm has transposed it to Mozart’s day, when absolutistic monarchs still held sway over Europe. Coveting the betrothed of the senator Cecilio, the dictator Silla exiles the senator and declares him dead. Giunia, however, wards off Silla’s advances and is happily reunited with Cecilio when he secretly returns. But Silla refuses to yield and tries to force Giunia to give herself to him. She refuses once, she refuses twice… Then Silla publicly announces their wedding. To prevent the wedding and end Silla’s tyranny, Cecilio reappears in public and tries to assassinate Silla. The plot fails but – as one would expect in an opera seria – the dictator has a sudden change of mind and brings the story to a happy end. Jürgen Flimm’s staging is a coproduction with Venice’s Teatro La Fenice, which also contributed its chorus and orchestra to the Salzburg adaptation. The stellar cast is dominated by Roberto Saccà as Silla, Annick Massis as Giunia and Monica Bacelli as Cecilio – all three at home on the world’s greatest stages such as the Vienna State Opera, Barcelona’s Liceu, London’s Covent Garden Opera, La Scala, Palais Garnier…
Mitridate, Re di Ponto (Mozart 22)
Widely acclaimed as one of the absolute top productions of the Mozart 22 cycle in Salzburg, “Mitridate” has everything going for it. It is a wild story of erotic desire, jealousy, intrigue and betrayal; a dramatically focused staging that does full justice to the conflicted relations; a cast of singers who are all of the highest caliber; and a sensational musical ensemble led by a singularly powerful and charismatic conductor. Indeed, the real star of this production is conductor Marc Minkowski, who is famed for his recordings of Baroque music with his ensemble Les Musiciens du Louvre – Grenoble, who also play on this recording. It is nothing less than phenomenal how Minkowski storms into the score and unleashes raw emotions encompassing everything from happiness and tenderness to madness and murderous jealousy. As he plumbs the depths of this music, he carries his singers on his orchestra’s richly nuanced fabric, whips them along impetuously, and envelops them in opulent sounds. In stage director Günter Krämer and his set designer Jürgen Bäckmann, Minkowski found partners on a par with his vibrant talent. Through cleverly placed mirrors, Krämer reveals what’s going on “behind the scenes” at the same time that we see what is occurring before our eyes – a breathtaking layering of the events that illuminates the characters’ psychology in a subtle manner. “Mitridate” is the first major opera seria of the 14-year-old Mozart, and its plot typical of this genre, which had its heyday in the mid to late 18th century. King Mitridate, blinded by his lust for power, believes his sons Farnace and Sifare, as well as his betrothed Aspasia, are betraying him. He wants to put them to the test by staging his own death. The two sons, who want to go their own ways, are thus forced to oppose their father, even as they long for his love. Mitridate is ready to sacrifice all three – but in the end, he is the only one who dies.