Opera on 3 29.03.14 - Die Frau Ohne Schatten (ROH)

[Belgrove]

Strauss' most ambitious and symbolic (bonkers?) opera Die Frau Ohne Schatten opens at the ROH on 14 March under the baton of Semyon Bychkov, to be broadcast on R3 (live) on March 29th. This is one of my highlights of the current strong ROH season which I shall be attending mid-run. The sonic effects that Strauss creates for the huge orchestra are startling and original. Anyone going?

[Dave2002]

Strauss' most ambitious and symbolic (bonkers?) opera Die Frau Ohne Schatten opens at the ROH on 14 March under the baton of Semyon Bychkov, to be broadcast on R3 (live) on March 29th. This is one of my highlights of the current strong ROH season which I shall be attending mid-run. The sonic effects that Strauss creates for the huge orchestra are startling and original. Anyone going?

How feasible is it to get tickets now? I once drove to Bristol to see a WNO production. Weird opera, but I think the music is amazing in parts.

[ferneyhoughgeliebte]

Weird opera, but I think the music is amazing in parts.

- I think the whole score is one of Strauss' finest achievements, its neglect on stage down to expense and the daft plot. But Hockney's sets would make this one of the best things in the calendar - is the production still using those, does anyone know?

[Belgrove]

Dave2002, availability was good last time I looked; it is not exactly a crowd pleaser.
fhg, it's a new production in collaboration with La Scala.

[ferneyhoughgeliebte]

fhg, it's a new production in collaboration with La Scala.

Thanks, Belgrove - but what a pity: those Hockney sets really enhanced the opera, making as big a visual feast as the aural one.

[gurnemanz]

Frau ohne Schatten

Saw an article about ROH Frau ohne Schatten in today's i and went on line on impulse. On 29 March (a day we could actually make it to London for 6 pm) there were just two Amphitheatre seats left (probably returns). It seemed like an invitation. I don't know the opera at all or anything about the production. Was this a good move?

[LeMartinPecheur]

Saw an article about ROH Frau ohne Schatten in today's i and went on line on impulse. On 29 March (a day we could actually make it to London for 6 pm) there were just two Amphitheatre seats left (probably returns). It seemed like an invitation. I don't know the opera at all or anything about the production. Was this a good move?

I most devoutly hope so gurnemanz, since No 1 daughter has been persuaded to take me that night (last year's deferred birthday present).

My very first visit to ROH too

[Stanley Stewart]

Looking at the ROH programme for Sat, 10 April 1976, I see that my baptism of fire with Die Frau ohne Schatten was the Rudolf Hartmann production. Scenery by Josef Svoboda - an overpowering set of steps which filled the stage - bear in mind that the stage at Covent Garden equates with the size of the auditorium. George Solti conducted and the combination of his presence, the orchestration and the setting made a long evening - it didn't feel like this - gain accumulative power right from the start. There is no Overture, only 'Keikobad' thrice repeated by all the lowest wind instruments...and the curtain rises. Worth taking your seat in good time to read the programme notes as the characters exist in three planes of life, but in no particular time or place! Alan Jefferson's Resume and Synopsis is spread over nine pages.

A top notch cast included: Emperor (James King), Empress (Heather Harper), Barak (Walter Berry), Barak's wife (Helga Dernesch), Barak's three brothers, (Wm Elvin, Paul Crook and Raimond Herincx), Apparation of a Youth (Robt Tear), Five solo voices, (Teresa Cahill, Angela Bostock, Heather Begg, Gillian Knight and Elizabeth Bainbridge).

[JimD]

I enjoy the music. You may need to bone up a bit on the plot, though I'm not sure how much good it will do you! I'll be interested to hear what you make of it.

[slarty]

I first saw this in London in 1967 with Solti - a mind blowing experience.
This new production is a shared one transferring from La Scala where it was premiered in 2012.
I

[Simon B]

Saw an article about ROH Frau ohne Schatten in today's i and went on line on impulse. On 29 March (a day we could actually make it to London for 6 pm) there were just two Amphitheatre seats left (probably returns). It seemed like an invitation. I don't know the opera at all or anything about the production. Was this a good move?

Apologies in advance for the flippant answer - but, if nothing else, it's a rare opportunity to hear a glass harmonica in action. Despite the absolutely enormous orchestra Strauss uses (which will presumably spill over into boxes at CG) it can actually be heard too. I assume the ROH wouldn't be so stingy as to leave it out...

Slightly less flippantly, (Simple) Simon's summary of FrOSch is - intermittently glorious music, incomprehensible plot. If it's those moments in Strauss of ecstatic expression or quietly rapturous simplicity that appeal, you will have a wait but they are there. Particularly so in the Watchmen's chorus at the end of Act 1 and then the very end of the opera. In between there are moments of some of Strauss's most complicated and spectacular music, the orchestration in particular is quite extraordinary. Obviously, rather more erudite views are available!

On the subject of tickets, while they're still expensive in absolute terms, seats in the orchestra stalls for some performances are currently available at a discount of over 50% via online booking with the code fraumarch. This makes them about the same price as the best seats in the Amphi. I'm going on the 17th...

[Nick Armstrong]

You may need to bone up a bit on the plot

On the contrary, I think that's fatal to enjoying this piece!!

Went through a big phase of DFOS (if I may proffer an alternative acronym) around the time of the Hockney-designed production at the ROH. Tempted to see this one just to revel in some of the amazing sounds - what do we know of the production, it's not set in a dry-cleaner's in 1970s Berlin or something, is it?

[Simon B]

On the contrary, I think that's fatal to enjoying this piece!!

Went through a big phase of DFOS (if I may proffer an alternative acronym) around the time of the Hockney-designed production at the ROH. Tempted to see this one just to revel in some of the amazing sounds - what do we know of the production, it's not set in a dry-cleaner's in 1970s Berlin or something, is it?

No, it looks quite "sensible" - relatively speaking.

The production photos here http://www.roh.org.uk/productions/di...-by-claus-guth at least suggest something vaguely appropriate. A feast for the eyes to accompany that for the ears is to be hoped for in what, after all, is a sort-of fairy tale.

At least it's not the widely derided Christof Loy production inflicted on the musically fabulous (Thielemann/VPO) performances at the Salzburg festival a few years ago (http://www.youtube.com/watch?v=OhgvpQot-bA).

[Nick Armstrong]

Thanks Simon. Yes - could be worse. Much worse.

I see that among the singers, the only one I've heard/of is Johan Botha. Are the ladies of the production much cop? The idea of over four hours of unpleasant vibrato is starting to dampen my ardour.

(As is the preciosity of this http://www.roh.org.uk/visit/restaura...-by-claus-guth The 'Frau ohne Schatten' menus...

I'm starting to recall why I gave up going to The Opera )

[Oliver]

Wonderful music...only Electra matches it, in my view. Solti's high-powered recording won me over. I saw the previous ROH production (designed by David Hockney) and it seemed rather tame.
Don't ask me to explain the plot.