Tonight I went to the Deutsche Oper to see, or rather to
hear, Donizetti’s Lucrezia Borgia, performed
in concert. The bulging, excited audience, however, had – it seemed clear -- mostly
come for something slightly different: to hear and ravenously applaud prima
donna Edita Gruberova – billed, figuratively, huge above the title as the lady
with the poisoned chalice.
Madame Gruberova is exactly my age. Sixty-seven.
Now, I have no truck with ageing artists and ex-stars who
keep on performing when they can no longer cut the mustard. But Edita Gruberova
is not one of these. Admittedly, her vocals were occasionally just a little
imperfect (whose aren’t?), especially at the start, but she warmed up into an
absolutely unforgettable prima donna – managing, husbanding and sharing her
voice with admirable skill -- and her final dramatic scene with Gennaro was
breathtaking.
It is not the performance of a 30 year old – rash, raw and
risky. Every aspect of Gruberova’s Lucrezia was minutely studied and played
with utmost care. The music, of course, but also every move, every expression,
every bit of delicious mezza voce, right down to details such as the perfect
burgundy gown and Carol Channing hair. For she acted the role, concert or no,
as convincingly as she sang it. Who would believe that one’s heart could go out
to the deadly Borgia in her final bravura. But mine did.
This morning, I was asked to define the term ‘diva’ in an
interview. This lady is a diva, in the best sense of the word. An utterly
professional, opera-sized vocalist and actress who can bring an audience to its
feet, cheering, with her charisma and talent.
The evening, however, was not all about the star. Far from
it. Lucrezia Borgia has three other
large roles which have to be equally well filled: and tonight, they were.
I have complained these recent weeks about Berlin’s feeble
tenors. Tonight, I was liberated. Gennaro is a long and rather wimpy part, with
his best opportunities in duet, but Pavol Breslik made him into a virile fellow
with a ringing, clear tenor voice, a perfect foil for his ‘mother’, and the
audience -- and I – just loved him.
Equally – maybe even more – I loved the bass playing
Alfonso. In the cruel way of composers, he comes on and goes straight into his
showy Vendetta aria. He was not deterred. It was a triumph: a grand, smooth,
seamless voice with the bottom notes pinging through and the top ones pinging
out, effortlessly, in a grand aria. The audience exploded. Mr Alex Esposito
goes on to my ‘must see again’ list. And, I imagine, everyone else’s.
Maffeo Orsini was Jana Kurucova (who I noticed as Ines in
last year’s Trovatore). She, too, has
to start with a big sing and got rather swallowed up therein by the lush
orchestra, which just occasionally forgot it wasn’t in the pit and gave the low
voices, in particular, a hard time. Kurucova gave us all the Alboni frills, in
a lively, accurate and likeable singing and acting performance, but I did miss
the ‘Alboni’ plumbing low notes, especially in ‘Il Segreto’.
Every single one of the indistinguishable supporting men was
more than adequate, as was the male chorus, up in the choir stalls and not
wriggling about too much. The ladies’ chorus could have stayed home: they have
nothing to do.
Andriy Yurkevych at the baton seemed to have a good relationship
with his singers – a kind of important thing in opera – and my only complaint about
the orchestra was, as I have said, the occasional over-generosity with volume
behind the singers.
Last year, I opined that Il
Trovatore lost much of its drama, transferred to the concert stage. Lucrezia Borgia, essentially an intimate
tale, lost absolutely none. In fact, it probably gained from the focus
achieved. But I will repeat my last year’s wail of horror on one point: get rid
of the wretched music stands and pretend scores for the small part players.
They don’t need them, and the page turning and going on and off resembles
nothing better than a provincial oratorio. Then, a concert version of this –
and many other -- operas, I am sure, will be on the way to being preferable to
a fully staged version, full of distracting ‘concept’ and banalities.
But for tonight: all I can say is ‘thank you’. You -- all of
you -- made my first ever Lucrezia Borgia
a real treat.
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