If you’re like me and spend most of your opera time with modernised productions of operas written in the 18th century, a traditional (with capital T) performance of an opera like Adriana Lecouvreur always feels like a trip to a very old relative’s house. You might enjoy spending time with said relative, you might even like their quaint taste in the inevitable knick-knacks but it’s still miles away from your life and views.
Though written in 1902, I was hard pressed to see anything 20th century about it. It’s simply old school and it needs singers who have a feel for that kind of thing.
Adriana Lecouvreur: Angela Gheorghiu
Maurizio: Brian Jagde
Abbé de Chazeuil: Krystian Adam
Princesse de Bouillon: Ksenia Dudnikova
Prince de Bouillon: Bálint Szabó
Michonnet: Gerald Finley
Mademoiselle Jouvenot: Vlada Borovko
Mademoiselle Dangeville: Angela Simkin
Poisson: Thomas Atkins
Quinault: Simon Shibambu
Conductor: Daniel Oren | Chorus and Orchestra of the Royal Opera House
Coproduction with Gran Teatre del Liceu, Vienna State Opera, San Francisco Opera and Opéra National de Paris
Luckily for us, Angela Gheorghiu is one of those singers. The only properly old school singers I had seen live were Domingo and Nucci and even they are merely a few years older than my parents. Watching Gheorghiu at work was the closest I came to witnessing a classic diva. Though Fleming is older, she’s got that American knack for updating her image, getting on with times etc. and just blending grand with business casual whereas Gheorghiu seems to have made a conscious effort of sticking with the legendary image of a European diva. You’re never going to pull off shouting – in recit voice – I am Melpomene, Muse of Tragedy! if you haven’t embraced that.
I was fully expecting her to overdo it but she didn’t. She stayed within the schmalzy limits of the libretto/music. In this sense her death scene was the most telling. She couldn’ve snatched a last cry but she went gently. She also didn’t seem intent on outshining her co-stars, more power to her (because she really didn’t need to; Adriana has it all).
(Schmalz: you might think there isn’t anything OTT about Adriana and perhaps you’re right; I just have a very low tolerance for sentimentality; doesn’t mean I wouldn’t have fun trying something like that on stage).
This being the first time I heard La Gheorghiu live (her repertoire isn’t normally up my alley), I was very impressed with her vocally. She’s just this side of 50 and the voice shows no signs of wear and tear. Then again, I guess nobody could accuse her of oversinging. Her attacks are always smooth and measured without feeling emotionless, she can pull a breathtaking pianissimo when she wants, and that part of her range that has made her famous still boasts gorgeously rounded notes, whilst the lower part has matured. Like her stage persona, the voice also has an old school feel to it, like she’s grown up on a steady diet of Tebaldi and never found the need to fix what ain’t broken.
I’m glad she hasn’t. We need all kinds of personalities out there. Sometimes you feel like everybody rushes to be cool and modern. Evenings like this make you stop and consider that it’s not absolutely necessary to do that. Especially if we want to keep operas like this in the repertoire. Having developed a soft spot for Adriana, I would love it if singers could keep the link to this tradition alive, musty as it may feel on occassion. Not everything is about Handel and Mozart (in shorts).
In spite of the traditonal this, traditional that talk, I do think the libretto is one of the better ones out there (subject and character-wise; there were moments when I wasn’t sure who sends whom which letter). Adriana, Michonnet and the Evil Princess are all well done characters. There are worse tenor characters than Maurizio. I like the social angle, as well, though of course if I could sing one role it would be Princess de Bouillon, leftist values be damned. What a villain! But it’s good that Adriana tries, at least, to stand up for herself in the face of unyielding power and privilege.
This is a revival of the 2010 ROH production, the first in 100 years, originally designed for Gheorghiu. There are many things that could be said about La Gheorghiu (that she keeps to a narrow repertoire, for instance) but there’s no doubt that she is very good at what she does. It’s quite obvious she feels at home in this production.
The role is not for the faint of heart or beginners (though Michonnet alludes to Adriana’s young age), as Adriana gets right into the meat of things within a couple of minutes of stepping – appearing, more likely – on stage, with Io son l’umile ancella, which is a less catchy Vissi d’arte but still quite the aria. There is so much to recite as well as sing here that one needs to be well into their career to carry this – for indeed the opera’s success rests on the shoulders of the soprano.
If you also have solid singers in the other roles that’s a bonus, of course. We did. I’m quite the Finley fan and here (as Michonnet) he was not only in very fine vocal form but also touching dramatically. Michonnet is a sweetie but most likely the type of chap destined for the friendzone as most women of Adriana’s temper – the ones he is interested in – crave adventure and danger instead of reliability and quiet loyalty.
Jagde as the heroic dreamboat Maurizio was suitably dashing (though perhaps moreso for those who missed Kaufmann in 2010) and his Italianate tenor cries carried to the rafters without any issue. His voice is very good for that kind of thing and there’s a good deal of artistry there as well, which manifested itself in an ability to alternate dynamics and colour. The chemistry between him and Gheorghiu was believable.
There can’t be a satisfying Adriana Lecouvreur for a mezzo fan without a rumbling Acerba volutta. Yours truly awaited the start of act II with a bated breath and opera glasses at the ready. In good opera tradition, her shadow preceeds the Evil Princess, as her theme (also the opera’s theme) surges ominuously and then drops mysteriously into apparent bubbliness. Then she pulls her veil and we can see who will stand between our kind hearted to a fault (if self absorbed) Melpomene and her happiness.
Cilea really doesn’t do half measures here, the villain has to hold her own against Adriana. I didn’t know Dudnikova but she held my attention all right through the evening. The voice isn’t as metallic as one would expect from a Slavic singer. There is a good deal of velvet along with the dark chest notes and very clear top notes, at least as far as the role requires, and the voice carries very well. She’s also got the looks to rival Gheorghiu’s – Ice Princess vs. Southern European temper.
Their dialogue in the dark and the act III showdown at Bouillon’s party were without a doubt the best parts of the evening, pitting two strong personalities, barbed words and icy glances but also real emotions and hurt. Too bad the reason was so mundane.
As someone with at least some interest in the history of theatre/opera, I can’t say I didn’t appreciate the effort this production put into recreating an 18th century theatre experience within the opera per se (operas about opera/theatre usually rank high with me). We were shown everything – actors’ lives backstage, actors on stage, actors interacting with their public, actors as human beings, dealing with their personal emotions and in the end theatre and life getting jumbled.
As I was saying earlier, my favourite bit of the libretto is the dialogue Adriana and the Evil Princess have in the dark (where neither knows who the other one is) and their showdown in act III, because we can see different aspects of public and private personas. Adriana gets another kind of adulation and respect than the Princess, but it is real adulation and respect nonetheless and it does, even though briefly, win the day.
In conclusion, everybody was very good and La Gheorghiu has still got it. Go watch her in one of her strong pieces, especially if you’re at the younger end of the opera fans’ spectrum and don’t quite know how they did it back then.
I was so taken with the business on stage I can’t say much about the conducting/orchestra other that they didn’t hurt the stage action and there were a few instances with various singers where the interaction between the stage and the pit stood out clearly and in a good way. A standout night in a packed house, all the arias got hearty applause and there was much cheering at curtain call.
When operatic traditions are being so heroically fought for, we all let out a sigh of relief and perhaps a bit of envy:
By now, you’ve likely read some […] posts about what turned into an historical night at Wiener Staatsoper on Saturday while you were listening to or watching Roberto Devereux, maybe even listened to a sound clip.
Ah, I forgot, diva behaviour trumps honest performance as far as opera history goes. Maybe we should have more of that, it seems to have gone out of fashion a teensy bit. But did our soprano (who else?) mean to upstage/take revenge at her tenor (who else?)? According to NYT:
André Comploi, a spokesman for the opera house, said in an email that it did not appear to be an intentional slight.
Ok, cynics, she meant to grab a glass of water 😀 How about next time this happens (it will, somewhere in a tradition loving opera house) we get Tosca side with Scarpia and stab Cavaradossi instead? Then Scarpia throws her off the window at the end in the interest of closure. And the star baritone gets to encore an aria of his own choice (freestyle aria insertion, another opera tradition).