sábado, 13 de noviembre de 2021

On Wagner's Rienzi, his youth grand opéra, from the Capitole de Toulouse (2013)

In the last months I have been discovering, or rediscovering works. As Richard Wagner's ones are concerned, most of us wagnerians are not very familiar with which are considered "youth works": Die Feen, Das Liebesverbot and Rienzi. Maybe because, in part, Wagner himself disowned them, and for that reason they weren't included in the Bayreuth Canon. On the other hand, in those works the composer hadn't found his distinctive style yet, so heroical, spectacular and at the same time so modern and profound, which revolutioned Western music for good.

Rienzi is the most known and representative of that period. Very popular until mid 20th Century, it is a work, as I could discover, that is liked by many wagnerians but it is rarely seen on stage. One problem with Wagner's youth works is that they are performed with many cuts, something unthinkable with his Canon today. It is due, in some way, because no original partitures have survived. The original manuscript for these works perished in Adolf Hitler's bunker during the last days of World War II. The most complete version is featured in the 1976 critical edition, and recorded by Edward Downes for the BBC, lasting around 280 minutes. It is known that the premiere lasted until six hours, and two Saxon princesses reportedly complained for the duration. Then, Wagner considered to divide it in two parts and finally to turn into a cut version.

In Rienzi's case, we still don't recognise that Wagnerian musical style which made him the genius we know today. Indeed, we find more similarities with German romantic opera, and above all, with French grand opèra, with which Giacomo Meyerbeer, the famous German Jewish composer, was succeeding in Paris, creating a worldwide trend. Indeed, Hans von Bülow stated that Rienzi is "the best Meyerbeer's opera", quite an irony considering the differences between Meyerbeer and Wagner, inspiring the latter's infamous antisemitic essay "Judaism in Music". And as Pinchas Steinberg would say, some influences of Mendelssohn, another German Jewish composer whom Wagner would held a controversial opinion, are found, as well as Weber and even Bellini. The score has all of its day's conventions: Five-act structure, bombastic music, ballets, marchs, a strongly romanticized historical topic, even some signs of coloratura. However, some moments are also announcing the great Wagner, that one between Holländer and Rheingold. The final act goes in that direction, from the beautiful Prayer to the tragic finale, after gaining more and more dramatism. Indeed, both the overture and Act 5 prayer are very performed today in symphonic concerts and operatic recitals. 

Whereas on the contrary, the plot seems to be even more substantial than the music. Based on a novel of Edward Butter-Lyon, it narrates the story of Cola di Rienzo, a nobleman who lived in Rome in 14th Century, when the Pope was exiled in Avignon. Rienzo attacked and finally led a rebellion against the corrupt aristocracy, but once in power, being called "the last Roman tribune", started to have a more and more tyrannical attitude, being as a result overthrown twice, and finally executed. Wagner treats his story in a very interesting way: we attend to the rise and fall of a man who started with a noble purpose and ended a dictator who finally was deposed by those who once helped him to reach the power. Wagner's Rienzi uses his solemn rhetoric to convey the Romans the aim of fighting against a corrupt and opressive power, to restore an old splendour largely lost and longed, a new strong leader destined to rule. A ruler who boasts his magnanimity, which will be his perdition, by forgiving the patricians who tried to overthrow him. Evil, corrupt aristocrats beyond redemption, who aim to break the new order. And after he is not only satisfied with restoring the order in Rome, but also aspires to reunificate Italy, as if he anticipated Italian and German unifications by centuries (when Wagner composed Rienzi, German Unification was a desire, which would become fulfilled during his mature years). At the end, when fall and destruction are inminent, this hero would call his own people as "degenerate", having forgotten the one who made him "powerful and free".

All this considered, one cannot be surprised that a young Hitler became obsessed with this opera, until identifying himself with its main hero. It is appalling to think, that Rienzi's rhetoric and attitude could involuntarily inspire that poor young student who lived only for going to the Linz opera, before becoming the most atrocious criminal in European history. Those evoked similarities are a clear sign of how Hitler would prostitute and ruin Wagner's legacy to fit in his demential and murderous political project. 

Apart from Rienzi, there are another two characters: Irene and Adriano, the main couple. Irene, Rienzi's sister, is the devoted, faithful sister who stays for her brother even after he was excommunicated. She is able to die for him, as a proud Roman. These values can be found in characters such as Rachel in Halévy's La Juive (who dies proud to be a Jewess) or Elisabeth in Tannhäuser, who prays for a last chance to redeem her lover. Adriano, is a convention of those days, as he is a travestite role, a male character sung by a female voice, a contralto. He is divided between his honor and nobilty, and his love for Irene, which led him to first to sacrify everything for her and finally to die trying to rescue her from the death during Rienzi's downfall. In addition, his is the main feminine role, with the main Act 3 aria In seiner Blüte bleicht mein Leben.

The version I chose to introduce myself in this work was the DVD from the Capitole de Toulouse, France, in October 2012. Few months earlier, in May, I saw it live at the Teatro Real, in a concert version. This production, including most of the plot, is one of the most complete ever performed, and by far the most complete on video, running around 3 hours, excluding the long ballet among other extracts.

Directed by Jorge Lavelli, a regietheater veteran, the production is set in an intemporal era, and with a minimalistic ambiance. However, and despite its comprehensible aesthetical mixture of modern and classic elements, there is little beauty to admire. At least it makes the plot visually comprehensive. During the overture, video clips from different 20th Century revolutions are seen: Vietnam, Cuba, Berlin Wall, Africa, or the May 1968 Revolution. The sets by Ricardo Sánchez Cuerda are dark and reduced, with a predominance of black. Francesco Zito's costumes are minimal, specially for main protagonists: white for Irene, black for the men and red for the Pope ambassador. The people, on the other hand, is dressed like 18 or 19th Century peasants. All characters have their faces coloured in white, which gives it an oppresive sensation. Sets, as mentioned before, are minimalistic, prevailing a dark background in intimistic scenes, or during Adriano's great scene in Act 3 a worn grey. In choral scenes, Pope's messengers in Act 2 are dressed in white, with a big banner saying "Peace has come". During Act 3 Rienzi is riding a real horse, which fortunately follows the stage indications. Foreign ambassadors are also dressed in white, with their  names indicated: Bohemia, Milan, Venice... In Act 4, the excommunication scene is visually beautiful. Roberto Trafferi's lighting recreates an astonishing moment: the stage all dark with a dome-shaped blue light from which emerges the Pope retinue to condemn Rienzi. At the end, Rienzi, Irene and Adriano appear in a platform which elevates them while the people is on stage close to them and real fire lights the stage, insensifying final destruction.

The Capitole National Orchestra is conducted by the Israeli maestro Pinchas Steinberg. An accomplished, expert Wagnerian, his rendition is excellent, making the French orchestra to sound as an experienced German one, even when this orchestra is already excellent. The Overture is superb, with a sense of drama, tragedy, solemnity, which breathes life, energy, temperament into the orchestra. This level will be maintained during all the show. Trumpets, strings are really magnificent. Another beautiful moment is the orchestral introduction to Rienzi's player. The Capitole Chorus, reinforced with the Chorus of Academia della Scala di Milano, is accomplished as well. Wagner gives the chorus two beautiful, haunting offstage moments, during scene 2 of Act 1 and in Act 4 during the excommunication scene, reminding to medieval sacred music. Choristers do their best in both scenes, as well during the concertants. They are also good actors, specially during Act 1.

Torsten Kerl sings Rienzi. Kerl sang frequently the title role during last decade, recording it in Berlin too in 2010. Kerl's voice is good, an acceptable tone, with sometimes lyrical, other baritonal touches. Maybe in those times were there better tenors for it, but few chances to sing. In this sense, Kerl shows his command and knowledge of the role, conveying his energy and vigour. 

Marika Schönberg is a nice Irene, more dramatical than lyrical, but suitable for the role, as well as for Elsa and Elisabeth. In addition, she is a good actress.

Daniela Sindram is the real lead of the cast. In 2012, she was at her total prime, and she steals the show. With a great high register, this German mezzo sings the role vividly, with a great agility, as passionate as her youthful role, able to sing coloratura. Her great Act 3 scene and aria was the best moment of the show, alongside Kerl's version of the Prayer. Simply unforgettable.

The rest of the characters are at a good and correct level. I cannot say that was a great night for the basses, despite they don't sing precisely badly. Robert Bork as the pope ambassador and Leonardo Neiva as Cerco del Vecchio were among the good bass voices. On the other hand, Jennifer O'Loughlin did a great rendition of her little role as the messenger in Act 2.

Here ends my approximation to Rienzi, a great work with a wide range of styles, which cannot be identified with the typical Wagner style, and the fact that he disowned it didn't help. When I saw it at the Teatro Real, I recognise I got bored. However, after watching this DVD I realise of its big musical and stage potential, since this is an opera to be performed with a great staging. After all, due to its big format and the inmense popularity of its overture - one of the most celebrated of all overtures-, any Wagnerian would find this grand opéra in his or her way.

My reviews are not professional and express only my opinions. As a non English native speaker I apologise for any mistake.
Most of the photographs are from the internet and belong to its authors. My use of them is only cultural. If someone is uncomfortable with their use, just notify it to me.
Any reproduction of my text requires my permission.

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