(review in english
below)
Rigoletto, uma
das óperas mais populares de G. Verdi,
já foi vista pelos Fanáticos muitas vezes e há várias apreciações de diferentes
produções ao longo do blogue. Mas, um dos atractivos da ópera é que há sempre a
possibilidade de nos depararmos com algo de totalmente inesperado e
surpreendente, como me aconteceu desta vez.
Se acha que a recente encenação do Rigoletto do São Carlos
foi má (e eu acho, como já comentei no blogue há poucos dias), então fique a
saber que em Berlim acaba de estrear uma ainda pior!
A nova produção da Deutsche Oper é, simplesmente, horrorosa!
Foi a pior encenação (de Jan Bosse)
das já muitas a que assisti.
Quando nos sentamos, vemos a orquestra no local habitual e
no palco estão cadeiras de plateia e balcão idênticas àquelas em que estamos
sentados. As pessoas (são os elementos do coro) vão chegando e vão-se sentando,
como se de espectadores se tratassem. Mas as senhoras vestem todas saias
iguais.
O Duque de Mântua vem vestido com calças justas de cabedal,
camisa estampada muito garrida, luvas sem dedos, um grande colar e sapatos de
tacões altos e muitas aplicações metálicas. O Rigoletto aparece com um fato
completo de coelho feito de finas tiras de material prateado idêntico ao que se
usa para enfeitar as árvores de natal. Permanece nesta figura durante quase
todo o primeiro acto. Monterone está sentado na plateia onde estão os
espectadores verdadeiros e daí lança a maldição. Algumas cadeiras da plateia
falsa elevam-se e a Gilda aparece no quarto que mais parece uma casa de
prostituição. Quando a vão raptar, os elementos do coro surgem todos de negro e
com a cara também tapada, mas alguns de tronco nú. E no início do 2º acto,
quando Rigoletto procura a filha no palácio (sempre tudo passado na plateia
falsa), os homens do coro estão vestidos com as saias das mulheres que aparecem
inicialmente.
Enfim, não vou continuar, é uma encenação totalmente
disparatada, sem o menor interesse estético, sem sentido algum e termina com os
cantores vestidos à maneira actual e o palco totalmente vazio!
Enfim, um espectáculo para se ver de olhos bem fechados!!
O maestro Moritz
Gnann dirigiu de forma superior a Orquestra da Deutsche Oper e o Coro, tão
importante nesta ópera, foi também excelente.
O Duque de Mântua foi interpretado pelo tenor coreano Yosep Kang. Esteve bem, tem uma voz
poderosa, com agudos aparentemente fáceis e ouve-se sempre sobre a orquestra.
Achei que lhe faltou um pouco de emotividade interpretativa.
A Gilda do soprano inglês Lucy Crowe também esteve muito bem. A cantora tem uma boa presença,
faz uma interpretação convincente mas, no registo mais agudo, embora
perfeitamente audível, perde um pouco da qualidade.
O baixo austríaco Albert
Pesendorfer foi um Sparafucille com boa presença cénica e vocal e a irmã
Maddalena foi interpretada pelo excelente mezzo francês Clémentine Margaine, que também fez a Giovanna.
Este conjunto de solistas, numa produção minimamente aceitável,
teria brilhado de outra forma e, até para eles, teria sido mais digno. Assim foi um total desperdício num
espectáculo vergonhoso!
*
RIGOLETTO,
Deutsche Oper, Berlin, April 2013
Rigoletto, one of the most popular operas of G. Verdi, has been viewed by us and there are multiple assessments of different productions over the blog. But one of the attractions of the opera is that there is always the possibility to come across something totally unexpected and surprising, as it happened this time.
If you think the recent staging of Rigoletto at the São Carlos was bad (and that is my opinion as I wrote in this blog), so get to know that the Berlin´s production is worse!
The new production of Deutsche Oper is simply awful! It was the worst staging (Jan Bosse) among many of which I attended.
When we sit, we see the orchestra in the usual place. On the stage and audience with rows of chairs identical to those in which we are sitting. People (they are the elements of the choir) are arriving and will be sitting, as if they were spectators. But all the ladies wear identical skirts.
The Duke of Mantua comes dressed in leather tights, very garish printed shirt, fingerless gloves, a great necklace and shoes, high heels and lots of metal applications. Rigoletto appears with a complete suit rabbit made of thin strips of silvery material identical to that used to adorn Christmas trees. He remains so almost throughout the first act. Monterone is sitting in the audience where the true spectators are and casts the curse. Some chairs of the fake audience elevate and Gilda appears in the room that looks more like a house of prostitution. In the abduction scene the elements of the choir are all in black and have their face also covered, but some in the naked torso. And at the beginning of the 2nd act when Rigoletto is searching his daughter in the palace (where everything happens in the fake audience), the men of the chorus are dressed in skirts of the women who initially appear.
I will not continue, it is a totally preposterous scenario, without the slightest aesthetic concern, meaningless and ends with the singers dressed like the true spectators and the stage totally empty!
A performance to see with your eyes wide shut!
Maestro Moritz Gnann directed very well the Deutsche Oper Orchestra and Chorus. The chorus is very important in this opera, and was excellent.
The Duke of Mantua was interpreted by Korean tenor Yosep Kang. He was good, has a powerful voice with seemingly easy top notes and could always be heard about the orchestra. I thought he lacked a bit of emotion.
Polish baritone Andrzej Dobber was a magnificent Rigoletto. He has a booming voice, the timbre is very beautiful, and showed vocal emotion during his interpretation. I welcome further their work in the context of staging he had to perform and the way his character was appearing.
English soprano Lucy Crowe was very good Gilda. The singer has a good presence, gave a convincing interpretation but the top register, though perfectly audible, lost some quality.
Sparafucille was Austrian bass Albert Pesendorfer. He had a good stage and vocal presence. His sister Maddalena was interpreted by great French mezzo Clémentine Margaine, who also was the Giovanna.
This group of soloists in a production minimally acceptable, would have been brighter in another way, and even for them, it would have been more adequate. This production was a total waste and a shameful spectacle!
*
Rigoletto, one of the most popular operas of G. Verdi, has been viewed by us and there are multiple assessments of different productions over the blog. But one of the attractions of the opera is that there is always the possibility to come across something totally unexpected and surprising, as it happened this time.
If you think the recent staging of Rigoletto at the São Carlos was bad (and that is my opinion as I wrote in this blog), so get to know that the Berlin´s production is worse!
The new production of Deutsche Oper is simply awful! It was the worst staging (Jan Bosse) among many of which I attended.
When we sit, we see the orchestra in the usual place. On the stage and audience with rows of chairs identical to those in which we are sitting. People (they are the elements of the choir) are arriving and will be sitting, as if they were spectators. But all the ladies wear identical skirts.
The Duke of Mantua comes dressed in leather tights, very garish printed shirt, fingerless gloves, a great necklace and shoes, high heels and lots of metal applications. Rigoletto appears with a complete suit rabbit made of thin strips of silvery material identical to that used to adorn Christmas trees. He remains so almost throughout the first act. Monterone is sitting in the audience where the true spectators are and casts the curse. Some chairs of the fake audience elevate and Gilda appears in the room that looks more like a house of prostitution. In the abduction scene the elements of the choir are all in black and have their face also covered, but some in the naked torso. And at the beginning of the 2nd act when Rigoletto is searching his daughter in the palace (where everything happens in the fake audience), the men of the chorus are dressed in skirts of the women who initially appear.
I will not continue, it is a totally preposterous scenario, without the slightest aesthetic concern, meaningless and ends with the singers dressed like the true spectators and the stage totally empty!
A performance to see with your eyes wide shut!
Maestro Moritz Gnann directed very well the Deutsche Oper Orchestra and Chorus. The chorus is very important in this opera, and was excellent.
The Duke of Mantua was interpreted by Korean tenor Yosep Kang. He was good, has a powerful voice with seemingly easy top notes and could always be heard about the orchestra. I thought he lacked a bit of emotion.
Polish baritone Andrzej Dobber was a magnificent Rigoletto. He has a booming voice, the timbre is very beautiful, and showed vocal emotion during his interpretation. I welcome further their work in the context of staging he had to perform and the way his character was appearing.
English soprano Lucy Crowe was very good Gilda. The singer has a good presence, gave a convincing interpretation but the top register, though perfectly audible, lost some quality.
Sparafucille was Austrian bass Albert Pesendorfer. He had a good stage and vocal presence. His sister Maddalena was interpreted by great French mezzo Clémentine Margaine, who also was the Giovanna.
This group of soloists in a production minimally acceptable, would have been brighter in another way, and even for them, it would have been more adequate. This production was a total waste and a shameful spectacle!
*
Tendo em conta o que conta e as fotografias que colocou, a encenação parece-me medonha e totalmente desadequada. Não percebo estes laivos de modernice pseudo-intelectual: as modernização são interessantes e de salutar, mas respeitando a obra.
ResponderEliminarJá os cantores parecem ter sido bastante bons.
Podiam ter transferido estes cantores para o TNSC e a encenação de Esposito teria sido um regalo...
Caro Fanático,
ResponderEliminaro que se viu é que o novo pelo novo mais uma vez não levou a nada! O desejo de chocar move os fanfarrões da arte que em suas vidas particulares, em geral, gostam de tudo nos seus devidos lugares, gostam de andar bem vestidos e de morar em casas arrumadinhas e bem comportadas...!
Um grande abraço
Caro Fanático_Um,
ResponderEliminarA descrição dessa encenação é, realmente, assustadora. Penso que existe todo o interesse em que a encenação suscite novas interpretações, novas visões sobre uma obra, que escapem às convencionais. É uma forma de aprofundarmos o nosso conhecimento sobre as mesmas e de renovar o seu interesse. Mas há limites e o tipo de encenação que descreve inscreve-se já num registo de pura arbitrariedade. É por este tipo de opções que os americanos se referem – e com razão – ao “eurotrash”.
A sua descrição recordou-me uma passagem do livro de memórias de Walter Legge, onde está transcrita uma carta que ele dirigiu a um crítico israelita, com a seguinte passagem, que me parece particularmente adequada ao caso:
«If producers and scenic designers are allowed to continue their writing of graffiti and vulgarity and stupidity on masterpieces as you experienced in Fidelio and Così – not to mention Chéreau at Bayreuth – we shall be forced to insist that they write the libretti and music to match the rubbish they put on stage!».
Cumprimentos,
J. Baptista