Guth/Cosi Redeux – La Scala 2014

There are some opera productions we get to see over and over on video (a certain very elaborate La Boheme, for example). But this is the first time that I’ve seen a second video version of a Claus Guth Mozart production. 

It seems Herr Guth has done some rethinking, so comparisons should be interesting. However, this is not that post. This is the post that calls attention to the videos to make sure my fellow Guth fans and fellow Mozart fans (and fellow Guth/Mozart fans) check out this 2014 La Scala iteration of this Cosi fan tutte that originated in Salzburg.

La Traviata from La Scala – Final Note (maybe)

Yesterday, the subject of Apropos Musik (Ö1 Radio – available in archive for another six days) was a 1.5-hour program of excerpts from the newest La Scala La Traviata. (The announcer mentions at the end that Beczala, Tcherniakov and Gatti were booed. I didn’t notice Gatti’s boos. I think any boos for Beczala and Gatti were actually meant for Tcherniakov, but slightly off target!) 

I suggested in my review(s) of this production that a radio broadcast would be much more satisfying, and this program confirms my suspicions. I really wanted to appreciate Tcherniakov's concept. But I was unconvinced, especially when watching the singers struggle with the concept themselves, and I was distracted from the primary attraction of opera: the singing. Listening to these excerpts, I found it well-sung; and without the annoying staging, I really enjoyed it a lot more. 

Anyway, all of this is to recommend listening to this edition of Apropos Musik. I also am going out on a limb to suggest that you try simply listening to the online video of this production. (Meanwhile, I am drafting a post about listening/feeling versus thinking at the opera. My current thoughts may be surprising to my readers.) 

Related Posts:

Piotr Peeved with La Scala's Loggionisti

Meanwhile, Back at La Scala with Piotr and Diana...

La Scala La Traviata on La Arte La-ive Web

Boo Who? – Awkward La Scala La Traviata (Part 1)

Boo Who, Part Two

Boo Who, Part Two (The Awkwardness of La Traviata at La Scala)

*Speaking of Act 2, Scene 2, DT seems unsure of what to do with the two (generally superfluous—these have got to be tough for any director to make sense of in a modern production) party choruses. In this performance, the chorus is not masked, and their performances are focused mockingly on Alfredo; they chase him around during the Gypsy and Toreador choruses. Then he exits quickly at the end of the second chorus; only to immediately reappear so the chorus can sing, “Alfredo! What are you doing here, and where’s Violetta?” If this was all meant to be symbolic, the symbolism flew right past me. (And I try pretty hard to “get” this stuff.)

Boo Who? – Awkward La Scala La Traviata (Part 1)

Piotr Beczala shouldn’t be cranky about his buuhs; he should be cranky about this whole new La Scala production of La Traviata. For me, this is the kind of show that gives Regieoper a bad name. It’s so freakin’ awkward. Does Tcherniakov have lousy ideas, is he just lousy at Personenregie, or what? I’ve already complained about his handling of the chorus, and presenting Alfredo as impetuous, immature, and petulant has worked in other productions, but it’s not working here. Diana Damrau and Mr. Beczala are not bad actors, and they’re pretty darned good singers! I hate to go over to the “other side,” but I have to say it: This production was a waste of nearly everyone’s time. (Although, a radio broadcast of it would be nice and mostly satisfying.)

La Scala La Traviata on La Arte La-ive Web

Now we can see for ourselves what all that kerfuffle was about at La Scala. (If you want to cut to the chase, Intermezzo posted part of the curtain call, where Mr.Beczala got three—count 'em, three—boos; the rest were reserved for the Regisseur, Mr. Tcherniakov.)

For those of us who want to find out why they were booing the director, we have about three weeks to see the entire opera at Arte Liveweb. So go see and listen for yourself. 

Did Piotr Beczala deserve boos ? I think not, and though it's hard to take rejection, I hope he puts it all aside and moves on. Did Dmitri Tcherniakov deserve boos? Maybe, but probably not. But the loggionisti do so love to hear themselves go "Booooooo!" 

Meanwhile, I think Diana Damrau is a divine Violetta. What do you think about the performance?

Meanwhile, Back at La Scala with Piotr and Diana...

Things are looking pretty good to me! It seems that Mr. Beczala surely didn't deserve his buuhs!  And neither did Mr. Tcherniakov. I think the loggionisti just like to hear their own voices. Diana Damrau not only sings the heck out of Violetta, she deserves kudos for the way she rocks that cigar! Here's La Scala's official La Traviata trailer:

Here's The New York Times Review

And here are a handful of captures from the live broadcast:

Piotr Peeved with La Scala's Loggionisti

He's not smiling tonight!

Posted by Piotr Beczala on Facebook about 2 hours ago:

"My last production in La Scala... I think They should engage only Italian singers ... Why I spend my time for this" schmarrn" ... Arrivederci ..."

I hear he and Diana Damrau both were booed at their La Scala Traviata this evening. I'd be annoyed too. But don't the loggionisti boo pretty much everyone?

The production was staged by Dmitri Tcherniakov. Maybe that had something to do with the audience reaction! Meanwhile Mr. Beczala's fans are reacting with sympathy.

Related Posts:

Meanwhile, Back at La Scala with Piotr and Diana...

La Scala La Traviata on La Arte La-ive Web

Boo Who? – Awkward La Scala La Traviata (Part 1)

Boo Who, Part Two

Sunday Brunch – Verdi Requiem: Domine Jesu Christe (excerpt)

Decca offers us a teaser from the La Scala Verdi Requiem recorded earlier this year. It will be available in the U.S. on DVD, Blu-ray, and CD on September 3. Have you pre-ordered yours yet?

Maybe it WAS all a Dream – Elsa, Ortrud, and Gottfried

Before I enter my 12-step Lohengrin detox program, I have one (or two) more thought(s) and a theory to share about the La Scala Lohengrin.

Some productions of this opera are about Lohengrin; some are about Elsa; and some are about the people of Brabant. But, like the Bayreuth rat version, Guth’s Lohengrin for La Scala is mostly about Ortrud’s quest for power.

The first characters we see on stage are Ortrud, Elsa, and Gottfried (represented by his boot and jacket.) Ortrud appears near the end of the Prelude, carrying the boot and jacket. She turns over the boot and pours water out of it. She hands Elsa the jacket, and Elsa, believing her brother has drowned, collapses in a silent scream.

Lohengrin at La Scala – A Few Thoughts about Elsa and Gottfried

Like many in the cinema audience last weekend, I wished for a less twitchy Lohengrin, or at least a more clear explanation of why he is this way. It causes more confusion than clarity. It certainly is disturbing; of course, I’m sure that was deliberate on Guth’s part.

So, Elsa has suffered a rough childhood. Her brother mysteriously disappeared and she gets blamed for it. Does Gottfried even exist, or is he part of the fantasy? The younger versions of Gottfried and Elsa, seem to reinforce this question.  And of course she sees Gottfried many other times in the opera (she seems to be the only one who can see him.) She goes into her fantasy world and conjures up a savior who turns out to be a little more real and wilder than she expected.

Lohengrin at La Scala – Impressions from the Cinema

Not surprisingly, one picks up a lot more of an opera performance when sitting attentively in the theater and paying attention to the screen; not checking email; not looking up odd words in the subtitles; not googling the baritone to see what else he’s done, etc. There was a post not long ago over at operaramblings about this phenomenon. 

This production is way more powerful than it was on YT. Guth’s ideas about this story are predictably dark, but not necessarily as weird as some of his other productions.

Kaufmann is Lohengrin at La Scala: The Video (Another Pre-Review)

Well, I finally found it! I am probably a bit late to the party. I've only viewed bits on my iPhone, and the quality there was not great, but given the other comments at YT, I would guess that's a connection issue on my end.

I don't think I've ever heard JK sing better. Annette Dasch sounds better to me than in the Bayreuth recording; and she stepped in more or less at the last minute here. Evelyn Herlitzius may just be the best current Ortrud (sorry, Petra Lang, I still love you, too.) René Pape is suitably regal.