Bozar in Brussels – Paisiello and Berlioz

What De Munt/La Monnaie doesn’t offer in terms of variety this year (50% is 20th century music and the remaining 50% are the omnipresent Haendel, Mozart and Verdi, though still one interesting Fierrabras – albeit in concert version) was given at the Bozar with only a couple of days from each other, organized by the Klarafestival.

IMG_1664Il barbiere di Siviglia. Not the well-known rossinian version, but Giovanni Paisiello’s, composed over 30 years earlier for the court of Saint Petersburg. Petrosellini’s libretto (which was set to music also by Francesco Morlacchi) is almost equal to Cesare Sterbini’s libretto for Rossini, and I was amused when I heard the same scenes, and in some cases the  exact same words. Paisiello’s genius doesn’t show as much in the Barbiere as it does in other works like Nina or Fedra. But the music is delightful, with heights in the Pace e gioia ensemble, Rosina’s music lesson, Bartolo’s Vuoi tu Rosina. The singers also follow stage directions and act the respective roles so the evening is almost as enjoyable as a staged opera. The cast rests on Pietro Spagnoli’s shoulder who’s rendition of Bartolo is perfect: excellent diction, wonderful singing technique, versatile actor. The rest of the cast are solid professionals with Mari Erismoen as Rosina, André Schuen as Figaro and Fulvio Bettini as Don Basilio. I didn’t enjoy Topi Lehtipuu very much, whose voice I found weightless and dry. Renee Jacobs gives a personal but lively and sparkling rendition of the score making it a highly enjoyable evening.

 

IMG_1691The other vocal work given at Bozar only a couple of days later is Romeo et Juliette by Hector Berlioz. It is described as a symphonie dramatique and includes 3 soloists and a choire and is regarded as one of Berlioz most admirable works. Richard Wagner was present at the premiere on 24 November 1839 and it must have made an impression on him if 20 years later he sent Berlioz the printed version of his Tristan and Isolde with the inscription Au grand et cher auteur de Roméo et Juliette, L’auteur reconnaissant de Tristan et Isolde.

Isabelle Druet’s and Jean-François Borras’ roles are rather short and confined to the beginning and neither have particularly marked my mind. Jerome Varnier’s voice was a bit absent and I felt it didn’t give the big recitative and aria of père Laurence the gravity it needed. François-Xavier Roth, who directed an interesting Christophe Colombe (by Félicien David) in Gent which I much enjoyed, chiseld the wide variety of emotions perfectly, from the whirling “fête” to the sweet and delicate love duet (Romeo and Juliet are impersonated by the orchestra) and the stirring final “serment”

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The 2014/2015 season of De Munt/La Monnaie

The-Homer-Scream-by-meowzaAh, for crying out loud!! The new season of De Munt/La monnaie 2014/2015 is out….. Are they serious???? How does he manage, Peter de Caluwe, to mess up a whole season? I mean… there are always one or two, maybe three things one doesn’t really like in a whole opera season.
1) But although there are a few interesting things, novelties, like Fierrabras and Paisiello’s Barbiere, they are in concert-version. GREAT!!
2) Two World premieres: (Shell Shock and Penthesilea). TWO??Really?? REALLY??? (Shell shock is also listed in the Dance section….so….is it both…Two for the price of one??)
3) Daphne is interesting also, a rarely played opera (which, coincidentally I just saw in Frankfurt), but it is directed by Guy Joosten, who fucked up Lucrezia Borgia with so much trash I wished THAT one was in concert version. Equally bad were Lucia in Brussels a Barbiere in Ghent and a Freischütz in Liege. IMHO
4) Two more 20th century opera’s (Frank Martin and Rachmaninov) out of 9 (not counting the concert versions) result in almost 50%. You GOTTA be kidding me!
5) What is left are two Haendel. Not one Haendel and one Vivaldi slash Monteverdi slash Lully slash Rameau slash Treatta No, no…TWO Haendel and
6) A Don Giovanni, which, if directed by Morlot with equal passion as Cosi and Clemenza, I will leave before the first interval. Door slamming!!
7) Remains a Verdi (Ballo in maschera) directed by Rizzi and Fura dels Baus, which might be quite interesting. But take a good soprano, the mezzo, a fine tenor and the base and they could have mounted Roberto Devereux with the same director. I mean, how many times in a row will we be hearing Verdi in an opera season?
Sorry Mr De Caluwe, with a program like this I will not be renewing my subscription. I will come and see them, sure. But with the least costly places…in case (….) I wanna leave at the interval.