Juditha triumphans (De Nationale Opera Amsterdam, 26 January 2019)
Did y’all know Juditha‘s outro is the actual anthem of Venice?! I didn’t, to my shame, but I do now. (There are certain themes running through this blog). Good on them, it’s such a great little choir bit, very typical Baroque loose-end tying but so effective. I simply love Vivaldi’s writing and with good reason – if you listen closely, you will hear how his chord progressions have come down all the way to pop music.
The operatic year 2019 started wonderfully for yours truly with this out of my usual season opera trip to Amsterdam, in the always enthusiastic company of thadieu and Agathe (who organised this one – thank you, thank you!).
After having been tipped off by thadieu a few years ago as to what a gem Vivaldi’s military oratorio, celebrating Venice’s victory over the Ottoman Empire, was, I have (quickly) grown to love it myself. These days it’s got a well deserved spot among my top 3 favourites, yet it’s not often you get to see it staged.
As you know, the concert performance Marcon toured in 2016/2017 was one of my highlights of that season, so when this was announced – and with Iervolino to boot, to whom I was introduced via Nox obscura, anyway – it was a no brainer.
However, that concert performance, as wonderful as it had been (Galou and Hallenberg, hello! Marcon and the Venice Baroque Orchestra + the all female choir), did not prepare me for several things. For some reason, the difference in feel from concert to staged production was the most radical I have seen yet.
Juditha: Gaëlle Arquez
Holofernes: Teresa Iervolino
Vagaus: Vasilisa Berzhanskaya
Abra: Polly Leech
Ozias: Francesca Ascioti
Conductor: Andrea Marcon | La Cetra Barockorchester Basel, Choir of the DNO
You have probably gleaned from thadieu’s report (and if you have not, you should read it; whilst you’re at it, read Giulia’s account as well) that this staging is not ambiguous at all as to good and bad. Juditha and her people are the good ones, of course, and Holofernes and them are very horrible indeed, more so than a concert can ever convey.
It’s wartime and we are never left to forget just how that brings out the worst in its perpetrators in particular. I say this because war does not spare the oppressed from stretching the limits of what during peacetime we would call morally sound. In the end we are left with a Juditha unsettled by her own actions and resentful of her heroic status.
So not a happy ending; this Juditha is humanised, not merely a symbol of victory for those who write history. Much is made of the famous painting during the opera, most curiously with Holofernes presenting it to Juditha during their “date”, as part of the looted artwork he has decorated his quarters with. A strange element of foreshadowing, perhaps pointing out Holofernes’ and them’s utter arrogance.
Yet Holofernes goes to some lengths to appear magnanimous even from the get go: as soon as he comes on stage, he starts by shooting one of his officers who is in the process of raping a Bethulian woman. He goes on to stage a photo shoot of him giving candy to local children (apparently unaware it can also be read as majority creepy). Of course, the libretto (and his very laid back music) does paint him as willing to compromise to a certain extent with the locals. But there is not compromise for Bethulians, it’s freedom or nothing1.
I can see why it was another production featuring the Nazi as the bad guys, given the story and that this was Amsterdam. I still think there is room for this oratorio to be set even more contemporary, though there is always the trap of falling into sensationalism with that, especially when beheadings are involved. Speaking of which, you’ve probably seen Iervolino’s selfie with Holofernes’ chopped head. Armed with that knowledge ahead of the show, it turned out
all some of us were eagerly awaiting to see how effectively they would stage the beheading. Though the very relaxed Amsterdam audience giggled a little when the chopped head emerged from under the sheets, it was rather effective. Holofernes was passed out drunk, she put a sheet on his head and did the deed.
With a very unpleasant “upstart” Vagaus, this turn of events looked even more his fault than usual. You remember it is him that encourages Holofernes to grant Juditha an audience. Here, Holofernes appeared particularly uninterested at the beginning and Vagaus had to work hard (and bourishly) to convince him. Then he does a piss poor job at keeping vigilant, given that he found both Juditha and Abra armed upon entering his superior’s quarters.
As I mentioned before, none of us were prepared for Gaelle Arquez, whose Amsterdam debut was this very performance. Juditha’s arias are mostly dirges2, because she’s understandably upset with the situation and she’s trying to keep her dignity. It’s a sign of virtuosity to make them stand out and not drag (she somehow even managed to make Transit aetas jaunty). Arquez more than managed that, via deft vocal characterisation and her dense tone that fit Juditha to a t (or a th). Also, her Vivaldi style was impeccable, nothing was overdone or flashy for the sake of it and nothing betrayed how acquainted she is with other repertoire. I really need to hear more from her (more Juditha and more Baroque in general) to talk in further detail, but suffice to say that I like her tone a lot and this first live impression will stay with me for a good while.
I consider myself super lucky to have seen live my two favourite Holoferni. I have said it before, Iervolino is by quite some margin my favourite of the new generation of voices, and in this role in particular. Though more boyish/less sophisticated than Galou’s, her Holofernes does have his own strong hypnotic charm. Her softly resplendent tone lends itself particularly well to the sexy arias sung by the drunken Holofernes during the second part. This Holofernes needed all the help he could get, given the masculine toxicity all around him. But we all know Vivaldi does not portray him in a repulsive manner, so the Juditha/Holofernes scenes are always rather curious. She always seems to have the upper hand, as much as she is literally at his mercy, yet he keeps laying on an irresistible (to us) charm. I don’t know that I can say anything else that I haven’t said before about Iervolino: go see her and you will weep for joy that this wonderful music gets sung by such a voice.
Perhaps to go with the production, Marcon used the “made up” overture this time, which is the first time I’ve seen him do it. You probably know the original overture has been lost – at least partially – so the chorus we are used to is merely the bit that would normally come next. The overture heard here is good enough, in the way Vagaus’ alternative first aria is – but no cigar. Appending it before the chorus feels to me like dampening the powerful effect of the rumbling timpani and piercing (female) chorus.
The good news is Marcon and his orchestra are able to make you feel this is thrilling music. All the soloists were marvelous! They played with virtuosity and feeling. The mixed choir – again, I suppose for the purposes of the production, because usually Marcon uses the female-only choir – worked generally very well, with only some minor dragging. When you have the mixed choir you sacrifice that piercing quality for dialogue, which I like as well (I started by prefering Sardelli’s very martial mixed choir and was only won over by the all female version upon hearing Marcon’s take live).
This was my introduction to De Nationale Opera. I want to congratulate the Amsterdam public for being amazing – supremely relaxed yet engaged and well bahaved (no rustling/phone ringing/phone flashing and minimal coughing in the middle of a miserable season). No fussiness about this being a premiere, yet generous with the applause.
The house looks modern inside, along the lines of Opera Bastille. The hall isn’t that large but the stage is – especially deep. The sightlines are excellent and the acoustic very good. It also houses the local City Hall. As you do! Gotta love Dutch Style. We started imaging what if it wasn’t just operahouse/city hall, but also airport3 😉 that would anger the hotel industry, as people would fly in, watch a show and fly out – but isn’t that the Dutchest thing ever? Haha.
There’s more: the Dutch business sense showed itself at the souvenir counter. Not only did they have Juditha magnets, but also Juditha posters4. Yes, they had opera specific paraphernalia, at decent prices. And a very cute – woman cut option, though no Juditha-option – t-shirt. That’s how it should be done! My only complaint is I didn’t like the poster (ha).
So although I agree with thadieu that Marcon should’ve reined in the orchestra at times (his only fault), and in spite of the minor quibles above, I have gained a very high level of respect for De Nationale Opera. It may not be as famous as others but they do some great stuff here and they are not afraid to feature young talent in top roles – and lesser known operas, for that matter. Lesser known operas that should be MUCH better known. It wasn’t just us, but Agathe’s friends who joined us to the opera also reported liking it a lot.
Even the inclement weather (rain followed by heavier rain) did not dampen the mood. Thadieu saved the day via uber, which showed up in 5min, which meant we didn’t miss the overture (I was particularly worried we would miss the choir, of course).
It’s all Vagaus’ fault
I just realised I said nothing about Vagaus other than he was unpleasant here. Berzhanskaya did a very good job with him. If you remember, he has the flourish arias in this piece – and they are quite a few. You may think he’s merely a sidekick but does he work hard or what?! So there was a bit of disconnect between his general unpleasantness (thanks, direction) and that sweet aria (Umbrae carae – remind yourself how lovely it is) where he puts a blanket over his sleeping buddy Holofernes and cleans up the dinner date leftovers. Just when you thought this one would follow the out of the leftfield evil dudes and rub his hands at the first chance his superior is incapacitated, he gets all soft and lyrical. A bit of bromance there, eh? You know the adage: he may have done evil things, but he was nice to his family.
Anyway, this is a role where coloratura is the first and foremost requirement. If you can get gentle on Umbrae carae = bonus. Berzhanskaya worked as hard as you’d expect in this role and aced her angsty coloratura, though she had to climb over rubble at the same time, occasionally at the expense of projection. I wouldn’t mind hearing her again in other angsty/perky roles of this repertoire that are best served by youthful, slender voices.
… and what with this mesmerising oratorio, I managed to bungle up my local opera going. But I have a feeling in the long run this will be a very small price in comparison to the exceptional memories. Seriously, go if you can. There are still a few performances.
- According to the booklet, the Assyrians had not won the fight yet. It was merely the eve of the battle when Juditha wormed her way into their camp. ↩
- Aside from Transit aetas, where she’s very playfully reminding a very drunk Holofernes about the perishability of beauty. ↩
- Although I have some annoying memories from my second time at Schipol in 2012, I love how easy to navigate it is, considering it’s one of the busiest in the world and it’s set over canals and the motorway. I don’t know how, but it takes you about twice as long to get from the plane to Arrivals at Luton. Only then you take a bus to the train station, whereas here you’re on the train within 5min. And the train is 5.50 euros, tax included. ↩
- Which they wrap for you in their own poster-box. They have thought of everything. ↩
Posted on January 29, 2019, in acting in opera, baroque, italian opera, live performances, mezzos & contraltos and tagged andrea marcon, antonio vivaldi, gaëlle arquez, juditha triumphans, nationale opera amsterdam, teresa iervolino. Bookmark the permalink. 24 Comments.