The traditional cultural invasion of the International Music Festival in Baden-Baden by the Mariinsky Theatre has caused a veritable furore in the international press. The Mariinsky’s new production of The Queen of Spades by Tchaikovsky, the anniversary of whose birth is being widely celebrated this year, symphony programme and concert performance of Berlioz’ grandiose opera duologue Les Troyens drew the attention of a huge number of German, French and Italian critics.
Alexei Stepanyuk’s monumental production is at the crossroads of Russian and western aesthetic ideals, embodying the inherent ambivalence of St Petersburg, a crossroads between East and West. The stage director and production designer have created a production that arouses a mass of associations: there is a reference to Adolph von Menzel’s painting Flute Concerto of Frederick the Great at Sanssouci, there are scenes with ghosts in the spirit of the French romantic opera Robert le Diable by Giacomo Meyerbeer, there is the Hoffmannesque demonism that leads to inevitable disaster and there are pastoral scenes that hint at theatre of the late Baroque period. As a result, The Queen of Spades comes across as a true “grand opéra” in the new Mariinsky Theatre production.
The vocal side of the production will also not leave the audience unaffected with its inspired dramatic acting combined with Slavonic timbres. Although it must be admitted that Mikhail Vekua (Hermann) at times unnecessarily forced the sound, which apart from anything else affected the proper nature of the intonation. A much more favourable impression was made by the voice of Irina Churilova (Liza), standing out for the lyrical warmth and evenness throughout the entire range. Of particular note in the brilliant cast of soloists was the free-flowing and velvet baritone voice of Alexei Markov (Prince Yeletsky), who presented an incredibly convincing image as a rival and antipode of Hermann. Two mezzo-sopranos must also be mentioned – Yekaterina Sergeyeva (Polina) with her intense and also pliant voice and the dark and nuance-rich vocals of Elena Vitman (the Countess).
It is superfluous to say that for Valery Gergiev and the Mariinsky Orchestra this was absolutely “doing what they do best”, brilliantly conveying the duplicity of the “St Petersburg text” of Tchaikovsky’s opera. (Alexander Dick, Badische Zeitung)
The strong side of this production lies in the realism of the narrative, in the important reality of the behaviour of the characters, which can arouse deep emotions and feelings in the audience regardless of a specific era or time. Mikhail Vekua’s Hermann is a vulnerable person, gloomy and despondent, aimlessly wandering among the finely-dressed representatives of the higher echelons of St Petersburg society (costumes by Irina Cherednikova), whose refined tenor voice, at times somewhat restrained in the piano, can take on the power of passion, and sometimes even achieve piercing sharpness. Irina Churilova is enchanting with her incredibly warm and even soprano with its full upper register, which can produce both expressive nuances of doubt and tragic despair. Alexei Markov as Prince Yeletsky, Roman Burdenko as Count Tomsky and Anna Denisova as Prilepa were vivid members of this exemplary cast of singers with staggeringly beautiful voices and strong acting skills, truly engaged with one another in the performance. The kind of theatre ensemble culture seen with the Mariinsky Theatre is now almost impossible to find in Germany.
Of course, the figure of the Mariinsky Theatre’s Artistic Director Valery Gergiev is associated with the most incredible enjoyment of music. He, like no-one else, magically draws melting sounds of languor and nostalgia from the orchestra, he highlights the vocal phrases with gentle flutes and mournful oboes, he spreads out velvety carpets of the strings under the singers’ feet. (Isabel Herzfeld, Badisches Tagblatt)
A wonderful production from the point of view of comprehensibility, its timeless classical qualities and pliant beauty. At the same time, this visually lavish production was not just a feast for the eyes, but for the ears too. Mikhail Vekua created a dazzling image as Hermann. Initially he appeared weak and unconfident in his over-long coat, his voice lacked clarity. But soon it became clear that this was intentional, as little by little he proved himself, displaying Napoleonic resolve and revealing exceptional energy and liveliness. Irina Churilova was very convincing as Liza, her voice sounds beautiful and strong. Loving passion, the torture of doubt and despair – the young soprano demonstrated the entire range of colours, making the audience empathise with her heroine. To a great extent Roman Burdenko has all the qualities for a successful performance of the role of Tomsky. But it was Alexei Markov’s sonorous and powerful baritone that was most affecting in the role of Yeletsky, particularly in the scene of his declaration of love for Liza, when he displays such a vocal gift that touch the hearts of even the most passionless people. Elena Vitman’s performance as the Countess was also beautiful.
Naturally one of the key components of the success of the evening was the performance by the Mariinsky Orchestra under Valery Gergiev. (Catherine Jordy, Forumopera.com).
The most powerful part of the performance was the music. Valery Gergiev’s immense experience with this score was clear to be seen in the clarity and originality of his interpretation, combining three-dimensional sound images with passionate tension. Of course, we must also note the brilliant work of the chorus and orchestra in this opera, which had its world premiere one hundred and twenty-five years ago at the Mariinsky Theatre itself. And so this evening the audience had a unique opportunity to hear the real Tchaikovsky.
The vocal cast of the first performance was also magnificent. Mikhail Vekua as Hermann demonstrated an impressive vocal culture and a complex and ambiguous image in the role. Irina Churilova gave a heartfelt performance as Liza. As Prince Yeletsky Alexei Markov demonstrated a luxuriant baritone and Russian bel canto. Elena Vitman sang well as the Countess, possibly even too well for such a sinister character. (Karl Georg Berg, Die Rheinpfalz)
In the Symphonie fantastique Valery Gergiev and the Mariinsky Orchestra took a gamble with the new effects that were first used by Berlioz. These worried the composer’s contemporaries and continue to have an effect today when they are produced so decisively, passionately and abundantly. The orchestra displayed an almost limitless scale of colours and shades. The wind and percussion sections deserve particular mention. The audience thanked the performers for this dazzling display with lengthy applause and endless shouts of “bravo”. (Birgitta Schmid)
Gergiev gives the orchestra the chance to enjoy the sound, visually embodying the contradictions of Berlioz’ alter ego. (Christian Euler)
The musicians of the Mariinsky Orchestra follow the tiniest movements of the tips of their principal conductor’s fingertips, and this is evidence not just of discipline but – to no less a degree – of the inspiration, passion and dedication which essentially transforms these separate and diverse individuals into an organism that breathes as one, feels the same emotions, and turns these emotions into sound. Gergiev’s interpretation is remarkable for its very particular sensitivity and pliancy. Without a conductor’s podium, standing at eye-level with his musicians, the maestro turns to separate sections, and can even come right up close to intensify the effect, becoming part of the orchestra, so to speak. This intimacy is absolutely and totally suited for the mysterious and confessional nature of the Symphonie fantastique. (Isabel Herzfeld)
In Les Troyens, from the very first bar Gergiev inspires the huge cast of soloists, the chorus and the Mariinsky Orchestra and confidently leads them through all five acts. The maestro underscores the classical majesty of the large choral scenes and leads the ensembles with a steady hand of theatrical drama. Didon (Ekaterina Semenchuk) demonstrates perfect command of her voice, and the expressiveness of her performance constantly grows. As a tragic actress she is rivalled by Mlada Khudoley as the prophetess Cassandre.
In the large ensemble of Trojans and Carthaginians of particular note were the bass Yuri Vorobiev as Narbal as well as the refined and stylish Chorèbe of Alexei Markov. (Nikolaus Schmidt)
The dramatic intensity and engaging dynamics as well as the wealth of colour which we see in the score of Les Troyens is presented to us by Gergiev and his orchestra in staggering fashion. The musicians under his baton, however, produce not only incredibly grandiose music, but also of incredible refinement. At the centre of attention, as with Berlioz, we have strong female characters. In the first part we have Cassandre who prophesies doom, which Mlada Khudoley embodies with the incomparable expressiveness of her timbre-rich soprano. Just as huge was the majestic mezzo-soprano voice of Ekaterina Semenchuk, who revealed the entire emotional range of her heroine Didon, abandoned by Énée, from loving nostalgia and despair no unrestrained fury. Alexei Markov created a lyrically intense image as Chorèbe, Cassandre’s fiancé, and Yekaterina Krapivina as Didon’s sister Anna stood out for her even and flexible mezzo-soprano. (Thomas Weiss)
Ekaterina Semenchuk presented a divine image as Didon. From the first recitative she enthralled the public with her majesty and magnificent command of French. Here was a true sovereign and queen! Her impressive vocal technique and the beauty of the timbre of her imperious and dazzling voice completely matched the stage image. Mlada Khudoley was also notable for her perfect enunciation, she interpreted the complex and highly diverse role of Cassandre with delicacy and passion, with differing nuances. Alexei Markov may be congratulated on his ideal performance as Chorèbe. His voice, weighty, colourful and radiant, was as captivating as the singer’s physical image. This baritone is a true hero, and his impeccable French was a pure delight. I would pick out Yuri Vorobiev as Narbal with his stunning low notes. A truly wonderful surprise came with the exceptional performance of the role of Anna by the very aristocratic Yekaterina Krapivina. The dark and velvety contralto of this surprisingly delicate young woman was truly exceptional. The ensembles, particularly the octet, were a pure delight. Conducting the Mariinsky Orchestra, with emotion, inspiration and dynamism Valery Gergiev recreated the epic pathos of Berlioz’ score. (Catherine Jordy, Forumopera.com)
| user_name | | Exit |
