patrikpen: Political Tragedy in Music and Vision 15 May

giovedì 25 luglio 2013

Political Tragedy in Music and Vision 15 May

Political Tragedy

GIUSEPPE PENNISI attended a performance
of Wagner's 'Rienzi' in Rome

Although very successful in the nineteenth century (mostly in Germany but also in Italy thanks to a rhythmic translation by Arrigo Boito), Rienzi, Der Letzte der Tribunen is now one of Wagner's least performed operas, for several reasons. The full staging of the Grosse tragische Oper in five acts may last some six hours, including ballet and intermissions, as happened in the Dresden premiere on 20 October 1842 (as the composer recalls in Mein Leben). Normally, it is presented on two different evenings or is drastically cut. In addition, it is a costly 'grand opera' patterned after Spontini's 'Imperial operas' for the French Emperor and for the Prussian Kings. It entails dances, mimes, marches, parades, a double chorus and several singers as well as complex stage sets: the streets of Rome in the fourteenth century, the ruins of the Roman forum, the Lateran Basilica, the Capitol. It also calls for special effects: battles, duels and the burning of the Capitol Hill. Finally, there is the hearsay that, although never performed in Bayreuth and rarely staged in the twentieth century, Rienzi would have been Adolf Hitler's favorite opera and that the original score had been burned with the dictator's body at his own request. This hearsay was like a curse for decades. In short, even though several CDs of the opera are commercially available, they are mostly drastically cut recordings of live performances. The first full recording dates from 1976, an East German studio production.

Rome's Teatro dell'Opera was bold in programming Rienzi to celebrate Wagner's bicentenary during a phase when over twenty Italian theatres are staging the less costly Der fliegende Holländer [Vibrant and Wild, 27 April 2013] and two complete Rings are being performed, in Palermo and Milan. Rienzi has not been seen in Rome since 1969 when it was staged in the Italian translation, shortened by nearly two hours and with a tenor in the key role of Adriano Colonna (written especially for the 'amphibious' soprano Wilhelmine Schröder-Devrient, able to reach a very low register). Thus, on 9 May 2013, the opera was actually premiered in its original language, without the lengthy second act ballet, and with a few other minor cuts. This review is based on that premiere.

A scene from Wagner's 'Rienzi' at Teatro dell'Opera di Roma. Photo © 2013 Roberto Masotti

Rienzi is drawn from a British novel by Edward Bulwer-Lytton. Wagner was twenty-seven years old, with a revolutionary 'red hot' head, when he read the novel, and, in parallel, Bakunin's political manifesto. The plot revolves around the rise and fall of Cola di Rienzo who attempted to establish a Republic in Rome when the Pope was in Avignon. He had the support of the populace as long as the clergy and the Emperor looked at him with benevolent eyes, but was eventually killed during a revolt and the aristocrats returned to mismanage what was left of the city and surrounding areas. Dramatically, the title role is a stern do-gooder with little psychological development. The key figure is the young Adriano Colonna, in love with Irene, Rienzi's sister. He first betrays his own aristocratic faction; then, he saves them from capital punishment; finally, when in the Capital the flames are burning Rienzi and Irene, he dies with them in the fire.

Roman Astakhov as Steffano Colonna, Jean-Luc Ballestra as Cecco del Vecchio, Martin Homrich as Baroncelli, Andreas Schlager as Rienzi and Ljubomir Puskaric as Paolo Orsini, with members of the chorus in Wagner's 'Rienzi' at Teatro dell'Opera di Roma. Photo © 2013 Roberto Masotti. Click on the image for higher resolution

This rather involved political 'tragedy' is set to music largely based on Spontini's Imperial operas -- Wagner had seen and heard Fernando Cortez in Berlin -- but was also influenced by Bellini (especially Norma and I Capuleti e I Montecchi); the overture, for example, is a 'sonata' starting pianissimo but then anticipating the belligerent scenes and eventually the protagonist's final prayer to God. There is also anticipation of Wagner's future development: the main prayer theme is a leitmotiv, for example.

Angela Denoke as Adriano (right) and Andreas Schlager in the title role of Wagner's 'Rienzi' at Teatro dell'Opera di Roma. Photo © 2013 Roberto Masotti

Stage direction, sets and costumes were entrusted to Hugo De Ana. With a few elements, he was able to give the sense of the five acts' different locations (organized in three parts). There is no lack of special effects. The movements of the double chorus and the battle scenes are very skilled. Thus, this is a real colossal show within which the political and amorous plot evolves.

Jean Luc Ballestra (left) as Cecco del Vecchio and Andreas Schlager in the title role of Wagner's 'Rienzi' at Teatro dell'Opera di Roma. Photo © 2013 Roberto Masotti. Click on the image for higher resolution

Stefan Soltesz, a solid Hungarian conductor, was responsible for the musical aspects. He handled the balance between the colossal empire and the more intimate drama of the three protagonists quite well. The choruses, directed by Roberto Gabbiani and José Maria Sciutto, were outstanding. Two of the three protagonists have very taxing vocal lines. Especially Angela Denoke as Adriano Colonna, who has to ascend to a very high coloratura and then descend to a very grave register; she fully deserved the open stage applauses and the standing ovation at the end. Andreas Schager is impressive in the title role: a clear heldentenor timbre, perfect diction, and a volume embracing the huge house. Manuela Uhl was a tender and passionate Irene.