Estimated read time: 4-5 minutes
This archived news story is available only for your personal, non-commercial use. Information in the story may be outdated or superseded by additional information. Reading or replaying the story in its archived form does not constitute a republication of the story.
When Seattle Opera premiered its production of Strauss' "Der Rosenkavalier" nine years ago, it was regarded a success. Its revival with a different cast and conductor, which opened Saturday night at McCaw Hall, is more so.
There was luxury in the list of singers, particularly two in minor roles that gave the whole affair greater impetus and vibrancy. Vinson Cole as the Italian Tenor and Wolfgang Holzmair, in his Seattle debut, as Faninal were aided by the three principal women new or practically new to the roles -- Carol Vaness as the Marschallin; Alice Coote, Octavian; Julianne Gearhart, Sophie -- and Peter Rose as Baron Ochs.
They sang splendidly, but what made the performance extra lustrous was the finesse and attention to dramatic detail, not to mention comedy, by Swiss stage director Dieter Kaegi.
Asher Fisch, the Israeli conductor who has made such a strong impression at Seattle Opera and Seattle Symphony, began the performance with bold energy and depth of sound, so much so one felt swept up in the proceedings before the curtain lifted. He gave varied dimensions to Strauss' extraordinary music -- its sweetness, melancholy, even Viennese schmaltz -- making it supple and inviting, rich in color. The Seattle Symphony played with precision and all-embracing warmth.
In 1997, I had reservations about Bruno Schwengl's set design because it evoked 20th-century stage design more than 18th-century Vienna, although the production makes no assertion to be anywhere else than where the librettist Hugo von Hofmannsthal placed it in 1910. Certainly Schwengl takes his liberties, but then don't all artists?
The Marschallin's huge bedchamber in Act 1 is still rather sparse and masculine, but the huge murals of pastoral scenes give the decor needed grandeur. The Faninal palace, all white except for the roses, is the biggest departure from naturalism, but somehow it works, suggesting rather than screaming imposing wealth. Act 3 is not a room at an inn but a garden scene, with moving shrubs and statues, that is the perfect setup for the comedy to follow.
Kaegi went to great lengths to make every action real and alive, so that the characters are always interacting with one another instead of addressing the audience. One was in a theater, not a concert hall. There are those who might object to the lovemaking of the Marschallin and Octavian that opens the opera, but I didn't.
It seemed more tender than in-your-face. Also the comedy in the two subsequent acts: broad, yes, and hilarious but theatrically vivid.
In the final act, Kaegi counterbalances the free-for-all that marks the first half with slow motion in the second, letting the music and drama unfold at the same pace. It is pure magic.
Vaness, long a familiar face at Seattle Opera, sang her first Marschallin. In recent years, she has not always been at her best. That was not true Saturday. The role suits her vocally and dramatically. Her soprano has rarely sounded richer, more voluptuous with phrases long and limber. She gives her character wisdom, a sense of discretion, dignity and worldliness.
Also in a debut was Gearhart. Originally she was the cover, or understudy, for the part, but when the original soprano withdrew, she stepped in. What a Sophie -- pretty, blond, petite, young. And she can sing, easily and naturally, soaring up to those very important high notes.
The English mezzo-soprano as Octavian is new to the city. May Coote return soon. She is a major, major talent. Her duets with Vaness in the first act were one of the highlights of the performance, their voices a handsome blend. She is very good going back and forth between pretending to be a young man (Octavian) and a young man pretending to be a maid. Engaging and funny, she uses that great instrument of hers with panache and dramatic inflection.
Joining the three women was Rose's Ochs. Described as a clumsy but lovable oaf by some, Ochs, with Rose, is really a dark character. Amusing he may be on occasion, but without feeling or soul or intelligence, abusing and taking advantage of people.
Hofmannstahl makes it quite clear just what kind of husband he would make for the 15-year-old Sophie. Many singers find it easy to make Ochs disagreeable, but the English-born Rose makes music of it all with gestures large and small. He is a marvel.
The Italian Tenor is Cole's farewell to Seattle. A resident of the city for some years and a member of the University of Washington music faculty, he is moving to Boston. Cole has been an important member of the music community here, appearing in major and minor roles at the opera, at the symphony and other places. He will be sorely missed.
In the category of surprises was Holzmair as Faninal. The Austrian baritone is one of the most important lieder singers of his generation, but he also can be found in opera houses in Europe and the United States. He is a superior Faninal -- amusing, pretentious, ultimately sympathetic -- making the most of what Strauss gave him, then some.
Doug Jones' Valzacchi and Graciela Araya's Annina were riveting in their comedic posturings and carrying-on.
To see more of the Seattle Post-Intelligencer, for online features, or to subscribe, go to http://seattlep-I.com.
© 1998-2006 Seattle Post-Intelligencer. All Rights Reserved.
