Spain Richard Strauss, Arabella: Soloists, Teatro Real Chorus and Orchestra / David Afkham (conductor). Teatro Real, Madrid, 28.1.2023. (JMI)
Production:
Director – Christof Loy
Sets and Costumes – Herbert Murauer
Lighting – Reinhard Traub
Choreographer – Thomas Wilhelm
Chorus director – Andrés Máspero
Cast:
Arabella – Sara Jakubiak
Mandryka – Josef Wagner
Zdenka – Sarah Defrise
Matteo – Matthew Newlin
Adelaide – Anne Sofie von Otter
Count Waldner – Martin Winkler
Fiakermilli – Elena Sancho-Péreg
Count Elemer – Dean Power
Count Dominik – Roger Smeets
Count Lamoral – Tyler Zimmermann
Fortune Teller – Barbara Zechmeister
This seems to be the primary time that Arabella has been staged in Madrid. It just isn’t a preferred opera in Spain, and I don’t keep in mind it being programmed right here earlier than besides at Barcelona’s Liceu (most just lately in 2014). In 1962, the memorable Montserrat Caballé debuted within the half on the Liceu.
I’ve all the time seen this opera in international theaters, and I’ve an indelible reminiscence of a efficiency that befell in 2014 on the Semperoper in Dresden. The creative end result was actually miraculous underneath the musical course of Christian Thielemann and with Anja Harteros within the main position.
For its premiere in Madrid, we now have the manufacturing that Christof Loy created for the Frankfurt Opera in 2009, which is the one the Liceu used on that 2014 event. The manufacturing focuses on the characters, and probably the most profitable act is the third, the place the colours black and white play an necessary position on stage.
The units are virtually the identical for the three acts. There is a big sliding door in entrance which, when opened, permits us to see the Waldners’ modest suite in Act I and a staircase with company for the social gathering in Act II. The third act takes place virtually in entrance of that sliding door. The motion is introduced as much as extra fashionable occasions, across the center of the 20 th century, and the actors are directed properly.
I’ve all the time defended the paramount significance of the musical director in opera, however there are some works the place the job is even larger. And that’s the case with this Richard Strauss opera. I used to be not upset in David Afkham’s studying, though it didn’t attain the extent achieved by Thielemann, Philippe Jordan or Franz Welser-Möst in my expertise. I’d spotlight Act III the place his conducting was at its finest. The Teatro Real Orchestra did properly.
Arabella was sung by soprano Sara Jakubiak, who was a convincing interpreter, as she has all the time been when I’ve seen her carry out. I believe she fell wanting what different sopranos have supplied within the position: her voice is considerably impersonal and loses high quality within the higher a part of the vary.
The efficiency of baritone Josef Wagner as Mandryka was sturdy. He has a large voice and sings with expressiveness. Soprano Sarah Defrise as Zdenka did properly: she has a well-suited, mild soprano, though her quantity is considerably decreased.
As Matteo, Matthew Newlin made a great impression, with a lightweight lyrical tenor and singing with gusto. Still in advantageous voice, mezzo-soprano Anne Sofie von Otter lined the a part of Adelaide, Arabella’s mom.
Baritone Martin Winkler as Count Waldner and soprano Elena Sancho-Péreg as Fiakermilli had been each good, as had been the three Arabella suitors, Dean Power, Roger Smeets and Tyler Zimmerman.
José M. Irurzun