Madrid, March 23, 2022.
In those times in which the Russian invasion of Ukraine is rising a worldwide solidarity with rhe Ukrainians because of the war, to perform a Russian opera could be a brave act. Or, in these times of cancellation "culture", a temerary act of audacity. Such stage has caught the Teatro Real scheduling performances of Sergei Prokofiev's The Fiery Angel, which is being premiered in Spain with this run of performances. Of course, both Prokofiev (who despite being Russian, was born in Ukraine, and died in 1953) and this work (composed in the 1920s) are beyond this heinous invassion. Indeed, Russia and Ukraine were a sole country, the USSR, in the time this was composed and premiered, and they both should share this Prokofiev's glory.
The Calixto Bieito's production from the Zurich Opera is being the one seen in the Teatro Real stage. I have to warn the reader that this review will talk about the dress rehearsal of the second cast, which happened few days ago.
This opera tells us the story of a woman who is obsessed with an angel, who appeared to her in the form of her beloved Heinrich, which disapperared. In her quest for finding him, she would use a man which is obsessed with her at the same time. Bieito's vision is a staging of visual impact, with a rotating set (by Rebecca Ringst), representing a doll house, in which stages of Renata's life are told. All her story of abuse, deceptions, which made her the heartbroken woman she is right now. Bieito takes the story to the 1950s, a conservative era in which all the topics treated in this opera were taboo. In this doll house we see a child decorated room, a medical consulting room, a wooden-like decorated living room with a big radio and a big leather sofa like in the 50s. At the beginning, in a total silence, the house rotates while Renata turns around her bicycle's wheels. Some pictures of her are projected in the house. Ingo Krügler's costumes reflect the conservatism and trends of that times, with Ruprecht appearing like a sort of Marlon Brando in "The wild one" or James Dean in "Rebel without a cause". Bieito delves in the Renata's psychological state of ruine, showing her as a mature woman, torn by her life experiences, used by everyone. She is the object of Rupert's desire, the mock object for the other women, and also she has to cope with the lustful regards of the Inquisitorial court. Everything under the terrorific sight, and guidance by her beloved Madiel, or Heinrich. In the final act, the house has disappeared, only the ladder landings shown. The nun order in which Renata is now, is depicted as a group of conservative, religious secular women, and the Inquisitor like a sort of predicator. All the scene is a horrendous act of exorcism, and when she is condemned to be burned, it's her bike which burns, much to her despair.
Prokofiev composed this opera in the 20s, after reading Valery Brusov's novel, before composing his revolutionary operas, when religion was part of his work. He tried to premiere it in Germany in 1926 under Bruno Walter's baton, but he failed. He never saw it performed during his lifetime. The classical Prokofiev from Romeo and Juliet or Peter and the Wolf shows here his most crazy, visceral, radical side, in an orchestral explosion, in the line of Shostakovich. Gustavo Gimeno has made the Teatro Real Orchestra to sound magnificently, all this musical explosion, the rich orchestration, the intense interludes were felt by the orchestra and made the audience to feel the power of this work. The Teatro Real female chorus sang their brief but intense, and difficult part in a startling way.
In the subtitle screens, a manifest from the Teatro Real could be read, condemning the war and the Russian invasion of Ukraine, mentioning Prokofiev's Ukrainian origin, more precisely from the now hit Donetsk region. As a gesture of solidarity (specially with several Russian and Ukrainian singers in the cast), the Ukraine national anthem will be played before in all performances, shortly before the work begins. This happened in the dress rehearsal, and the audience stood when listening to the anthem.
If the staging was great, the conducting magnificent, the singing was even better.
Elena Popovskaya sang Renata, in a splendid performance. Her voice is big, a volume heard over the orchestra, reaching the complete hall. Her voice has a dark, dramatic soprano tone. As actress, she fufils Bieito's orders as a mature, estranged woman who only lives for her sick love, something which makes to be as lost as well as determined to find her beloved man.
Dimitris Tiliakos sang Ruprecht. This Greek baritone sang a great Macbeth at the Teatro Real in late 2012, duing the golden days of the late Gerard Mortier's tenure as artistic manager. Ten years later, he returns with his robust, vigorous and nice-toned voice, as well as with his good acting.
Vsevolod Grivnov was a magnificent Mephistopheles, with a beautiful as well as powerful spieltenor voice. Pavel Daniluk gave an unforgettable performance as the Inquisitor, with his dark-toned, deep dark bass voice, with a chilling portrayal of this character in the final act. It was a marvellous surprise to hear such a bass, to follow with interest.
Olesya Petrova sang with her beautiful low register, in her double role as the Fortune Teller and Mother Superior, Nino Surguladze was a truly luxury in the cast, as the gossiping Landlady. Another luxury was Dmitry Ulyanov as Faust. Why this major bass in this supporting role? Anyway, he was as good as the rest of the cast. German actor Ernst Alisch played the silent role of Heinrich, here portrayed as a sinister, frightening old man, like Doctor Grenvil in Willy Decker's famous Traviata.
Probably we are witnessing the best title of this season of the Teatro Real, by far. An excellent balance between singers and orchestra, as well as a tremendous staging. A success for the opera house, which was very well welcomed by the audience.
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