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.

Sunday Brunch – Schubert: Fierrabras (Finale)

And speaking of Fierrabras (well, I was speaking about Fierrabras in yesterday's post), here, to round out our JK weekend, is the finale of Act 2. The choral, solo, and orchestral writing is lovely. It's too bad it never goes anywhere dramatically. 

(Do I need a) Nom de Blog? (also Fierrabras' Aria)

So, I have noticed that very few people use their real names on their blogs. I find this interesting, and feel slightly naive that I have never come up with a cute, clever, or fanciful pseudonym under which to air my lofty opinions. Also naive because it didn't occur to me that it might be safer, yea even necessary, to remain more anonymous.*  

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.

Sunday Brunch – Jonas Kaufmann & Michael Volle are Fierrabras und Roland

Schubert's Fierrabras is a strange little opera. Well, not so little, really. There is a lot of music and most of it is lyrical and lovely, but the plot of the opera is convoluted and fairly static. And with character names like Roland and Boland, Eginhard and Brutamonte, it's hard to keep track of everyone. (One of our heroines is named Emma, but I'm sure that was an oversight. Her real name probably was supposed to be Emmamentandina or something.)