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

[Cockney Sparrow]

I recall an interview where he says he wants to do what he wants to do, and doesn't want to take up a post as Principal Conductor with any one orchestra. I think he indicated he wants to develop relationships with a number of orchestras/opera houses around the world - hence, for example, the post he occupies with the BBC Symphony Orchestra.

I agree he is a wonderful conductor (a near perfect War Requiem in November (any imperfections were not down to him) , etc).

[Howdenite]

Thank you so much for the link to the Hockney sets. I hadn't seen them anywhere. They have the magic that was missing from the ROH Frau sets. David-G's comments are very fair - much fairer than I would be. It was so wonderfully played and sung, but the sets were so very flat and the extra action (beds & characters who aren't supposed to appear) that the production almost took me out of the wonderful playing. I wouldn't have missed it, but will hope for a concert performance the next time out! I look forward to hearing it again on the iPlayer before it disappears.

[johnn10]

From my end of row seat in the Amp all I could see for most of the first act was a hospital bed-later to be joined by a second one. This is not the most pleasant way to spend 70 minutes and it did not exactly conjure up an exotic fairytale to me which is how the opera is described on the ROH site. The final scene of the evening was rather similar in appearance and concept to that in the recent Salzburg production. That is a statement rather than a compliment.

[David-G]

From my end of row seat in the Amp all I could see for most of the first act was a hospital bed-later to be joined by a second one. This is not the most pleasant way to spend 70 minutes and it did not exactly conjure up an exotic fairytale to me which is how the opera is described on the ROH site. The final scene of the evening was rather similar in appearance and concept to that in the recent Salzburg production. That is a statement rather than a compliment.

Hospital beds are very fashionable in opera production these days. There was one in Parsifal. And I think I recall one in Wozzeck.

[gurnemanz]

From my end of row seat in the Amp all I could see for most of the first act was a hospital bed-later to be joined by a second one. This is not the most pleasant way to spend 70 minutes and it did not exactly conjure up an exotic fairytale to me which is how the opera is described on the ROH site. The final scene of the evening was rather similar in appearance and concept to that in the recent Salzburg production. That is a statement rather than a compliment.

Going next Saturday Amp Row N, but in the middle. Hope for the best. I remember a production a couple of years ago where in one scene the singers were placed so high up that from not that far back in the Amph we could only see their legs.

[David-G]

You should be ok. Things are sometimes quite far back, but I can't remember anything high up. Definitely something to look forward to.

[Belgrove]

One of the great nights at Covent Garden on Sunday. A cast without flaw matched with orchestral playing of staggering power and delicacy in equal measure.

The production by Claus Guth is pretty straight forward and makes as coherent a stab at the symbolic pottage that Hofmannsthal confected as one could reasonably hope. The Empress is a woman, recovering from some unspecified psychological trauma (or even a miscarriage?) tended to by a Nurse and visited by her husband (The Emperor), who then proceed to occupy her troubled dreams, the products of which is the stuff of the opera. Thus anything goes insofar as the crazy plot is concerned. The stage imagery borrows from the dream-like paintings of the Surrealist movement, and the use of a revolve which enables the dream states to penetrate into the real world/chamber that the Empress occupies.

If Semyon Bychkov is indeed a candidate to succeed Pappano as Music Director, then on the basis of this performance, he will be a shoo-in. Quite simply the most cogent, dramatic and beautiful account of the score I have heard, either in the theatre or recorded. Don’t miss it when broadcast 29th March, but better still, try and see it if possible. This is a good as Strauss gets.

[Flosshilde]

Don’t miss it when broadcast 29th March,

Oh knickers! That's exactly what I will do, as I'm booked to see Scottish Opera's reduced Macbeth.

[gurnemanz]

One of the great nights at Covent Garden on Sunday. A cast without flaw matched with orchestral playing of staggering power and delicacy in equal measure.

The production by Claus Guth is pretty straight forward and makes as coherent a stab at the symbolic pottage that Hofmannsthal confected as one could reasonably hope. The Empress is a woman, recovering from some unspecified psychological trauma (or even a miscarriage?) tended to by a Nurse and visited by her husband (The Emperor), who then proceed to occupy her troubled dreams, the products of which is the stuff of the opera. Thus anything goes insofar as the crazy plot is concerned. The stage imagery borrows from the dream-like paintings of the Surrealist movement, and the use of a revolve which enables the dream states to penetrate into the real world/chamber that the Empress occupies.

If Semyon is indeed a candidate to succeed Pappano as Music Director, then on the basis of this performance, he will be a shoo-in. Quite simply the most cogent, dramatic and beautiful account of the score I have heard, either in the theatre or recorded. Don’t miss it when broadcast 29th March, but better still, try and see it if possible. This is a good as Strauss gets.

Thanks for your comments. We were very impressed with Bychkov in Tannhäuser a few years ago, which was one reason why we booked for Frau.

[Prommer]

He should indeed be the shoo-in candidate based on Sunday's performance, which I attended. The only trouble, he likes to freelance! I had Nicola Luisotti and Mark Elder on my shortlist too, but there is now a circle around Bychkov's. He has the right chops in terms of repertoire for the ROH: Wagner, some rather more select Verdi and Puccini, Strauss - plus the tempting prospect of his traversing some Russian repertoire. We can always ship in some Mozartians!

[David-G]

He should indeed be the shoo-in candidate based on Sunday's performance, which I attended. The only trouble, he likes to freelance! I had Nicola Luisotti and Mark Elder on my shortlist too, but there is now a circle around Bychkov's. He has the right chops in terms of repertoire for the ROH: Wagner, some rather more select Verdi and Puccini, Strauss - plus the tempting prospect of his traversing some Russian repertoire. We can always ship in some Mozartians!

I am greatly looking forward to Bychkov conducting the OAE in Beethoven's 7th and Schubert's Great C Major on 8 April at the RFH.

[gurnemanz]

I am greatly looking forward to Bychkov conducting the OAE in Beethoven's 7th and Schubert's Great C Major on 8 April at the RFH.

Thinking of going to Basingstoke - great acoustics.

[gamba]

A rave review in the S. Times.

I shall record it on radio as it contains some of the most beautiful music ever heard by me & I'm an Early Music man.

[Don Basilio]

It was wonderful.

Incidentally, it is always translated as "The Woman without A Shadow". Shouldn't it be "The Woman (or The Wife) without Shadow".

The Emperor was not shown turning to stone during the Empress' temptation to drink - the whole point is that she saves him by resisting.

And yet again the producer has to go against the libretto and the music in the last few minutes - the Empress is back in the Nurse's baleful charge again.

Incidentally, isn't the Nurse a whopping role?

[LeMartinPecheur]

Thinking of going to Basingstoke - great acoustics.

Is this the very first time anyone anywhere has said anything good about Basingstoke??

Signed, A Former Resident