Fierrabras Complete – You Know You're Curious, Go On, Check it Out

Yes this opera has its flaws—most of them dramatic. On the other hand, it has some really nice tunes, and this cast does a great job. While you're at it, you can try to suss out the reasoning behind the giant grand piano. Leave it to Claus Guth to give us something to chew while we listen to the pretty music.

You might be interested in reading my other posts about this production.

Monday Mozart – Ach Belmonte! Ach mein Leben!

This is Christof Loy’s interpretation of Mozart’s Die Entführung aus dem Serail. Loy’s visions don’t always work for me (sometimes they just look low budget), but this performance does work on several levels. I also like the HIP feeling from the Ivor Bolton and the orchestra.

This quartet is the finale of Act 2  (and one of my favorite parts of the opera—it’s almost a little opera by itself), when the lovers are reunited for the first time. We know Konstanze has mixed feelings about seeing Belmonte again (as usual). She starts to go to him, then goes past him; he has to catch her. It seems Belmonte may not be too far off the mark when he asks if she’s in love with Selim. Pedrillo and Blonde seem to be on better terms, and they make up quickly (Pedrillo seems a lot more contrite than Belmonte). Meanwhile, Konstanze is not happy with Belmonte, even as they sing "Viva Love!"

Schubert's Fierrabras – Father Knows Best?

Don’t get this disc for Jonas Kaufmann. Yes he’s in it, and yes he’s good, and yes he plays the title character. But don’t get this disc for Jonas Kaufmann.  Fierrabras’ minor role in his own opera is noted by director Claus Guth throughout the production. Fierrabras makes sure Schubert knows he feels about the size of his part, and the quality or at least tone of the music he is given to sing. (Check his non-verbal feedback to the composer in his—one—aria.) Fierrabras is not very happy about having to be so noble. He clearly would rather do away with Eginhard so he could marry Emma himself.

Gratuitous Friday – Kaufmann, Strehl, & Banse in Fierrabras

Eginhard, King Karl, Fierrabras,
Schubert, and Roland

The passion isn't very passionate, the drama isn't very dramatic, and the conflicts aren't very conflicted. Sadly, this opera doesn't have much going for it beyond the typically lovely song stylings of Schubert. And the music is indeed quite lovely.

Director Claus Guth addresses this lack of dramatic interest by inserting the composer into the action. It seems Schubert is still writing this opera as it's being performed, and in doing so, he is working out some of his own issues with his father. Note that four of the male characters (Eginhard, Roland, Fierrabras, and Brutamonte) are dressed just like Schubert – in case you weren't confused already.