A watery “Onegin” starts the Argentino´s season

             Decidedly, the world of opera in Argentina is falling prey to the dominating trend of recent decades in Europe: the utter tergiversation of the true contents of the chosen work, "justified" by a desire to be original and "creative". As the great producers of yore demonstrated –people like Wieland Wagner, Rennert, Pöttgen, Visconti, the early Zeffirelli, Colin Graham- it is possible to be innovative and fresh without attacking the essentials.

            La Plata´s Teatro Argentino has begun a very ambitious season with the local premiere of Tchaikovsky´s "Eugen Onegin", only the second Russian opera the city has seen (the first, last year´s "Lady Macbeth of Mtsensk" by Shostakovich). An excellent idea, no doubt, but thoroughly ruined by Polish producer Michal Znaniecki (also costume designer). Other members of the production team: Swiss stage designer Luigi Scoglio, Polish lighting designer Bogumil Palewicz and Argentine choreographer Diana Theocharidis. Following another trend than is being carried too far, it was a co-production with the Polish Cracow and Poznan Wielki Operas and the Bilbao Opera (Abao Olbe).

            I have been unhappy in recent years about the productions of "Onegin" I saw in Vienna and Paris, and I have shared my views with Herald readers. The La Plata one I would rank less negative than Vienna´s but worse than the Paris Bastille´s. Superficially some of it is aesthetically beautiful, but basic conceptual errors promptly pile up. As you may remember, we are in the ultra-Romantic Russian world of Pushkin as faithfully translated into immensely sensitive music by Tchaikovsky. The writer created "Onegin" as a  novel written in verse between 1823 and 1831. We are in the ambience of rural aristocracy, made of sentimental nuances. In this version incongruity soon takes over, and grossness replaces subtlety.

            Act I, First Tableau: bare birch trunks (the quintessential Russian tree) dominate  and are surrounded by three big mirrors and other reflecting surfaces; clever lighting dapples the stage (it looks like the Venetian producer Beni Montresor´s effects). Nice to see, but it´s a wood, not a garden as required. However, the real problems start with the Second Tableau, Tatyana´s room, where her bed is surrounded by the birch trees and  she writes in her bed  in the time of inkwells…But disaster strikes in the Third Tableau, when Onegin visits Tatyana in her bed, and not in the garden: if the content were a seduction, it might work, but it´s a refusal! And who gave him access in those severe times?

            Act II, First Tableau: The angular, contemporary choreography is completely alien to Tchaikovsky´s dances; the billiard table, uncalled-for and a silly barrier; the handling of the part of Monsieur Triquet, tremendously tasteless (a gallant old fop of the Ancien Régime converted into a very public libidinous dirty old man pawing Tatyana, and no one reacts). All conspires against  creating the right climate of Madame Larina´s salon. Second Tableau: after a Lensky aria in front of a neuter drop, we see the habitual snowy landscape; an interesting and valid point: Lensky doesn´t even aim at Onegin, he wants to die.

            Act III, First Tableau: the water in this article´s title comes from the ridiculous metaphor: Onegin´s icy demeanor melts down due to his new-found love for Tatyana, so the great salon in Prince Gremin´s St. Petersburg Palace has a palm of water and everyone splashes around. Furthermore, Gremin is made a cripple in a wheelchair, undermining the verisimilitude of his marriage to Tatyana. The Polonaise is again angular and charmless; it is danced behind a veil giving a phantasmagoric feeling which in a sense is adequate for the troubled feelings of the protagonist. Final scene: Tatyana strips down to a petticoat and receives thus the desperate Onegin, both still splashing.

            The costumes were quite uneven, some of them attractive and others looking coarse and Las Vegas-ish. The final impression was that of a failed "Onegin" stagewise, despite occasional felicities. As an exercise in nostalgia, I remembered the beautiful production by Oscar Figueroa and Hugo De Ana presented at the Colón in  1977 and that of the Moscow Bolshoi I saw in 1967.

            The musical side was rather good. Both principal singers are Polish and made their local debut. Baritone Marcin Bronikowski looks right for the part and has a strong, steady voice which he uses well, though without the plangency needed for the last act. Magdalena Nowacka looks attractive and has a sweet lyric timbre; she sings with musicality but lacks the intensity for the crucial Letter Scene. Our tenor Darío Schmunck was an involved and tender Lensky, particularly good in his aria, though with his habitual shortness of volume. Mezzo Mónica Sardi has the beauty of face and figure for the frivolous Olga, and she sang clearly, more assertively than I have heard her in other parts. There are two older women among the characters, Madame Larina and Filipyeva the nanny; they were well taken by Susanna Moncayo and Elsabeth Canis, the former very sonorous and the latter more restrained. Ariel Cazes did a correct Gremin, with little expansion however. I suppose Carlos Bengolea isn´t to blame for the grotesque characterisation of Triquet; the current condition of his voice is right for the part. Oreste Chlopecki and Sergio Spina completed the cast adequately.

            Stefan Lano conducted with his great professionalism, although Tchaikovsky´s world isn´t particularly congenial to him; the orchestra and chorus (Miguel Martínez) responded well.

           

For Buenos Aires Herald

¿Es deliberada la triste declinación del Colón?

            Hace algunas semanas escribí un informe sobre la asombrosa situación del Colón.

Noticias recientes son todavía peores, según lo anunciado en conferencia de prensa: no habrá abonos de ópera, de la Filarmónica ni de la Orquesta estable. Éste es el resultado de las teóricamente entabladas pero en la práctica paralizadas paritarias, en las que cada lado se mantiene rígidamente en sus opiniones.

            Me refiero a mi anterior artículo para una puesta al día. Sanciones: como la apelación con respecto a la sentencia del juez Otheguy aún no está resuelta, falta una decisión judicial definitiva. García Caffi meramente dijo que la cuestión está en manos judiciales por un lado y en las paritarias por otro. Expresa públicamente optimismo de que habrá solución, pero sus acciones dicen lo contrario: obviamente la eliminación de los abonos no es un signo positivo. Y el Jefe de Gobierno der París lanzó palabras terribles confirmando que cualquier colución está lejana.

            Dos cuestiones avanzaron en el sentido correcto: finalmente la Ciudad tiene presupuesto, y la oposición forzó al PRO a aceptar un fuerte aumento salarial para todos los empleados del Gobierno. Según información publicada en Infobae.com, comparado con Diciembre equivale a una suba de 38% (muy cercana al supuestamente absurdo 40% demandado por ATE); dan dos casos: un miembro de la Filarmónica cobró $ 6483 y ahora cobrará $ 8444, y un escenotécnico , $ 7285 y ahora 9287. ¿Es la suba puramente "blanca" (remunerativa)?

            No he visto publicado el presupuesto del Colón aceptado por la Legislatura, pero en este momento su relevancia es dudosa ya que ni siquiera se sabe si se va a dar la segunda ópera de la temporada, "La flauta mágica".

            Dí sólo los lineamientos de la temporada en mi anterior artículo. Ahora, según el anuncio de García Caffi, tres cosas son completamente inciertas: ópera, Filarmónica, Estable. Habrá ballet con música grabada. Otros proyectos continuarán según lo programado: Abono del Bicentenario, Intérpretes argentinos y Centro de Experimentación. E instituciones como el Mozarteum Argentino, Festivales musicales y Nuova Harmonia podrán usar el Colón según anunciado en sus respectivos planes. De modo que el Colón no estará cerrado pero sí drásticamente disminuido y sujeto a innumerables problemas.

            Dos renuncias están diciendo claramente que internamente el Colón está que arde: Reinaldo Censabella "por razones personales" a la Dirección Musical; y Susana Frangi a la Dirección de Estudios (esto no fue oficialmente anunciado).

            Se decidió dar "Le Grand Macabre" de Ligeti (estreno sudamericano) en una reducción para dos pianos y percusión, ya que no se pudo armar una orquesta sustituta para tocar la muy difícil partitura. En la conferencia varios miembros de La Fura del Baus defendieron la decisión, pero colegas y yo mismo creemos que será una ejecución fatalmente fallada, ya que el color orquestal es la esencia de esta obra, aunque haya curiosidad por conocer la producción de la afamada compañía catalana vanguardista. Las cuatro funciones serán consideradas ensayos con público, serán gratis y los abonados tendrán precedencia. Hubo estricto y amplio control de seguridad y no se permitió la presencia de miembros de ATE; SUTECBA sí, porque están colaborando.

            El otro dilema concierne a Plácido Domingo y sus conciertos. (Este párrafo lo omito ya que se sabe qué pasó después).

            En la conferencia, Horacio Rodríguez Larreta dio su pleno aval a García Caffi. Desde París Macri lanzó estas lapidarias palabras: "Si es necesario, no habrá temporada este año, pero si continuamos en este camino aseguraremos cien excelentes temporadas a partir de 2012. No cederemos ante quienes quieren un Colón cerrado… No puede haber revolución cultural si no se respeta la ley. Los que violan la ley no tendrán ningún lugar. El Dr. Scheibler hizo mucho mal. Nos forzó a reincorporar empleados transferidos… No toleraremos mafias en el Colón".

            Algunas conclusiones: a) Va mucho más allá que García Caffi, que dijo que la temporada no estaba cancelada pero que las condiciones no permitían vender un abono. b) El Juez Scheibler es atacado porque él, con pensamiento independiente, no admitió la monstruos transferencia de 400 personas, obviamente una orden directa de Macri a García Caffi. c) ATE no quiere un teatro cerrado; además, sólo unos pocos miembros de ambas orquestas son miembros de ATE y el conflicto es con el total de las orquestas, llamados mafiosos por Macri. Lo que quieren es la eliminación de las sanciones. Si la apelación fracasa, ¿qué hará Macri? ¿Considerar nociva a la corte de apelación? El verdadero centro del asunto está en los límites del derecho de huelga. d) Macri viola la ley: nombró como Directores a personas que no cumplen los requisitos de la Ley de Autarquía, que exige que tengan "trayectoria cultural reconocida". Y constantemente trata de no cumplir sentencias judiciales.  

            SUTECBA sacó un  comunicado expresando que representan a 800 empleados del Colón, lo cual es seguramente falso; sólo tienen 18% del personal. Quieren un teatro abierto pero no apoyan los métodos de ATE.

            El teatro está profundamente dividido entre SUTECBA, ATE y los independientes; Y muchos empleados no están de acuerdo con las orquestas en conflicto; otras orquestas, como la Sinfónica Nacional y la del SODRE de Montevideo, han en cambio declarado su solidaridad.  Dicen las orquestas: "Queremos trabajar, pero con respeto y dignidad. Queremos un Colón de producción integrada, trabajando a pleno para el beneficio de los ciudadanos".

            ¿Qué pasará con la próxima ópera, "La flauta mágica"? ¿Nuevamente ensayos gratis con público? ¿La Estable reemplazada por otra orquesta? Si usted fuera García Caffi, ¿enviaría los pasajes a los artistas contratados? ¿Daría luz verde a la realización de ensayos de escena y preparación de escenografías y trajes? ¿O lo cancelaría totalmente?  Hay mucho para pensar en todo esto.

            ¿Es deliberada la declinación del Colón? Me temo que sí.

For Buenos Aires Herald

Plácido at 70, still marvelous

             Plácido Domingo is in many senses a marvel. At 70 he accumulates the fruits of five decades of relentless work: one of the longest careers in history, the absolute record of twenty season-opening nights at New York´s Met, an immense quantity of LPs, CDs and DVDs, 134 rôles, and the amazing conservation of timbre and stamina that allows him to continue with no end in sight. Of course, age takes its toll even for him, and he has abandoned some high-lying tenor parts, but in recent years he has controversially added baritone characters. Additionally he has been conducting for 25 years, and leading opera houses since 15 in Washington and Los Angeles. He sings in Italian, Spanish, French, German, Russian and English.

            He has great love for Buenos Aires, where he made his debut in 1972, and apart from concerts he has sung here in complete operas in several seasons: 1979, 1981, 1982, 1997 and 1998.  He has always spoken with great admiration about the Colón as an integrated institution of high quality, and he wanted to do a special thing for the celebration of his seventieth year: in the same day, an operatic concert at the Colón and a more popular one in the open air. But somehow the right information didn´t come to him: the conflict of the two Colón orchestras with the City Government. After postponed press conferences and direct mediation by Domingo, a compromise solution was arrived at: only one concert but with an extensive programme in front of the Obelisk, with an orchestra made up of musicians from the Colón Orchestra ("Estable"), the Buenos Aires Philharmonic, the National Symphony and La Plata´s Argentino.

            One of the largest crowds ever assembled (estimated at about 120.000) gave its enthusiastic support. Domingo´s frequent partners in  international concerts, Argentine soprano Virginia Tola, and American conductor Eugene Kohn, were there as well.  And the whole thing went with a bang in a beautiful night (the concert had been postponed from Wednesday to Thursday due to bad weather, but paradoxically that gave them some valuable rehearsal time, otherwise extremely tight).

                                                           THE CONCERT

            Starting at 8,15 p.m., it lasted until 11 p.m., with an interval of 15 minutes. The amplified sound was acceptably good for open air conditions, and it certainly helped that there was little wind. The free concert had a VIP section of invitations and the general public sprawled over several blocks of 9 de Julio.  The event was organized by the Fundación Beethoven led by the admired pianist Pía Sebastiani and it had the sponsorship of the City Government and several enterprises.  Apart from minor mishaps (a small interruption of the transmission affected the big screens that mirrored the concert for those that were far away, and during a couple of  minutes there was an insistent sound of multiple sirens) the concert went smoothly.

            The First Part started with Choirs of Gypsies and Matadors from Verdi´s "La Traviata" with the Colón Choir prepared by Peter Burian. There were 73 choristers and 76 players. The first choice of Plácido Domingo (PD) was quite interesting, the splendid "Ô Souverain" from Massenet´s "Le Cid", never done at the Colón, where PD´s stirring tones showed unequivocally that the voice was still there, practically untouched, and so was his imposing dramatic presence. Virginia Tola (VT) chose the lovely "Depuis le jour" from Charpentier´s "Louise", deplorably absent from our city since 1945; she sang well but not with the ideal plangency and softness. Finally we heard PD in Wagner, a composer he has often sung elsewhere with great distinction, but not here: it was the melodic "Winterstürme" sung by Siegmund in "Die Walküre", and he did it beautifully, even if his diction is open to misgivings.

            Some  "verismo" with French plots followed: VT in good form in "Io son l´umile ancella" from Cilea´s "Adriana Lecouvreur", and PD stunning as Gérard in "Nemico della patria" from Giordano´s "Andrea Chenier": the first time he sings here as a baritone. "La vergine degli angeli" from Verdi´s "La forza del destino" didn´t quite jell: VT wasn´t ethereal enough and the Choir sounded too receded.

            There was talk last year that Verdi´s "Simone Boccanegra" would be offered in the Colón´s season with PD in the title part, but as he clarified in a press conference, the available dates didn´t coincide; the Colón plans to offer it this year but with Roberto Frontali. However, PD manifested his wish to sing it here in 2012; if that is so, perhaps they should change "Simone" this year,  "Un Ballo in Maschera" in its place would be adequate. But PD sang the wonderful duet of Simone with his daughter (VD) in this concert and they both did some very attractive singing and interpreting. To put in a nutshell the polemics about PD as baritone, they  are reduced to one point: he has all the notes but his timbre remains that of a "spinto" (robust and colorful) tenor. His powers of dramatic characterisation are all there.

            There followed another "first" , when PD made his debut here as a conductor in the Overture from Verdi´s "La forza del destino": hardly as polished as other versions heard here, it gave a partial account of his abilities in that field (who knows how much rehearsal he had).

            The Second Part started with the Act 2 duet of Verdi´s "Rigoletto", minus the chorus (why?) and Monterone´s appearance. I wasn´t quite convinced, especially in the "Vendetta" conclusion; some smudged phrasing from PD, instances of hard voice from VT; PD´s performance in DVD of the complete opera is much better. Things went quite well in the final operatic selection: the Triumphal March from Verdi´s "Aida" (minus the dances) had a very resolute PD as conductor, this time getting much better performances from the orchestra, and with an enthusiastic choral intervention.

            I´ll be briefer about the remaining blocks. Five zarzuela fragments were incongruously combined with "I could have danced all night" from Loewe´s "My fair lady", well sung by VT in good English. VT was excellent in the charming "Canción de Paloma"  from Barbieri´s "El barberillo de Lavapiés", the chorus rather weak in the "Coro de románticos" from Vives´ "Doña Francisquita", PD  a bit tired in a piece from Moreno Torroba´s "Maravilla" but fully rallying for two Sorozábal pieces, especially a PD specialty, "No puede ser!" from "La tabernera del puerto".

            The final blocks were songs and tangos in overwrought orchestrations. I could have done without a Spanish rendition of a duet from Lehár´s "Die lustige Witwe" and a poor song by César De La Luz, but I liked Grever´s "Júrame" (PD) and Lecuona´s "Bésame" (PD). Lara´s "Granada" could have been more brilliant (PD). As to the tangos, only "El día que me quieras" (duet) was played by the orchestra; the others (well-chosen) were idiomatically accompanied by four proficient bandoneon players: "El día que me quieras" (duet), "Volver (PD), "A media luz" (VT) and "Mi Buenos Aires querido" (duet). If your idea of the tango is circumscribed to Goyeneche, Merello or Rivero, you won´t like PD or VT; but if you accept that the "tango-canción" is a subgenre that goes well with the same voices that can sing "Granada", you will. I did, and the public certainly responded.

            Throughout Eugene Kohn conducting was experienced and supportive, and chorus and orchestra responded with visible pleasure; no great refinements can be expected with little rehearsal and in the open air, but it worked. All´s well that ends well, and it was so as far as this concert goes. Now the conflict goes on, fueled by intemperate declarations by Mauricio Macri and Pedro Pablo García Caffi. It remains to be told that prior to the Obelisk concert, PD sang a miniconcert for the Colón employees in the stage, and reportedly kissed the floor. He is a great artist but also a communicative human being with a great rapport with the Colón´s singers, players and technicians. May he come back under better auspices and with less tensions.

For Buenos Aires Herald

The Big Three present their seasons

            The Big Three of concert-giving are of course the Mozarteum Argentino, Nuova Harmonia and Festivales Musicales de Buenos Aires. Two of them bet heavily on the pull of the Colón over sponsors and subscribers and find themselves in the unpleasant possibility that a prolonged impasse in the conflict between the workers and the Government might affect the disponibility of the Theatre.  There are variants: the Coliseo for the Mozarteum (whose programming is wholly at the Colón) and naturally for Nuova Harmonia, whose home it is (they have only one concert at our great symbol of classical music). Or the Auditorio de Belgrano for Festivales, who plan about half of their season at the great hall. Let´s hope for the best and imagine that somehow the conundrum will be resolved.

            This year the Mozarteum and Nuova Harmonia present seasons of equal quality. On June 26 and 27 the Mozarteum will boast a surefire number: the Orquesta  Simón Bolívar de Venezuela under Gustavo Dudamel in Mahler´s Seventh Symphony and a mixed bag: Ravel, Evencio Castellanos (Venezuelan), Carlos Chávez (Mexican) and Stravinsky (the Mozarteum as usual offers two subscriber series). Their season starts on May 2 and 3 with the famous Budapest Festival Orchestra under Ivan Fischer, with two programmes, featuring respectively József Lendvay in Paganini´s Violin Concerto Nº 1 and pianist Dejan Lazcic in Weber´s "Konzerstück", with two standard symphonies (Tchaikovsky´s Fifth and Schumann´s Third), plus some Dvorák and Bartók.

            The wonderful Emerson Quartet will show their outstanding level in Mendelssohn, Bartók and Beethoven (May 23 and 24). The Munich Chamber Orchestra under Alexander Liebreich will offer a stimulating combination of works, with the talented soprano Christiane Oelze giving us Schönberg´s Quartet Nº 2 (which has an added soprano part) and Pergolesi´s cantata "Orfeo" (probably a premiere), along with a C.P.E.Bach symphony and Shostakovich´s Chamber Symphony op.110ª (an orchestration of his Eighth Quartet). June 13 and 14. After the Venezuelans, the Britten Sinfonia with Pekka Kuusisto (violin and conductor) and tenor Allan Clayton  will show their versatility in three Britishers (Purcell, Tippett and Britten´s "Les Illuminations") , and –minus the tenor- in two USA minimalists, Steve Reich and John Adams (his "Shaker loops"). August 8 and 10.

            The two programmes of the Deutsche Kammerphilharmonie Bremen both present Christian Tetzlaff (also conductor) in Mendelssohn´s Violin Concerto op.64, but the other scores are different: on August 29, Haydn´s Symphony Nº 80 and Mozart´s towering "Jupiter" Symphony, plus Schönberg´s "Transfigured Night"; on August 30, the scheme of Haydn (Nº 7, "Midday") and Mozart (Nº 40) is repeated, but adding Mozart´s rarely heard Violin Fantasia op. 131. Our admirable pianist Ingrid Fliter comes back after several years, playing Beethoven and Chopin (September 5 and 6). Return visit of the Orchestre Philharmonique de Liège, this time under Domingo Hindoyan, featuring pianist Jonathan Gilad in Grieg and Gershwin; along with repertoire pieces, two probable premieres: "Harmonies du soir" by Ysaÿe and Jean-Luc Fafchamps´"Lettre soufie: L (ÂM)". October 24 and 25. Thus ends a season that this time avoids ballet (I personally agree).

            We still don´t have the programmes, but Nuova Harmonia does announce artists and dates, all at the Coliseo except one. The Quartet of Milan´s La Scala will collaborate with pianist Paolo Restani on April 26. Then, a welcome back to the Bamberg Symphony under Jonathan Nott with pianist Till Fellner (May 9). Later, the 20-member Orchester die Kölner Akademie under Michael Alexander Willens (June 2). One of the outstanding presentations of the year will surely be the Rotterdam Philharmonic under an important conductor, Leonard Slatkin, on the first of July (debut of both orchestra and conductor). Pianist Michele Campanella will play Liszt on July 14. High quality is guaranteed with the Berlin Philharmonic Octet (August 18). A hearty welcome back to that splendid Baroque ensemble, Europa Galante under Fabio Biondi (September 14). Those old friends, violinist Shlomo Mintz and pianist Peter Jirikovsky, are here again on September 21. The Trio Modigliani makes its debut on October 18. And the season comes to an end at the Colón on October 29 with the St Petersburg Symphony under Vladimir Lande with pianist Maxim Mogilevsky.

            Festivales Musicales calls its season "Art and Virtuosism". Pianist Roger Muraro will premiere the Liszt transcription of the "Symphonie Fantastique" by Berlioz (May 11, Colón). The Orquesta de Cámara de Chile conducted by Juan Pablo Izquierdo offers well-trodden Beethoven (Leonore Nº 3, Third Symphony) and the "Emperor Concerto" with pianist Horacio Lavandera (June 8, Colón). Quite unknown, instead, are the pieces that will be played by the talented Verdehr Trio at the Auditorio de Belgrano, by Werner, Madsen, Rorem, Sierra, Dvorak and Sheng (June 21).

            The Lyon-based Café Zimmermann gives us French Baroque (several premieres) with soprano Claire Brua; the players are French and Argentine. June 27, Avenida.  The Estudio Coral de Buenos Aires under Carlos López Puccio will celebrate its 30th anniversary on July 11 (Colón). Then follows a collaboration with the Buenos Aires Philharmonic repeating a programme that will be included in the orchestra´s subscription series, with violinist Xavier Inchausti in Paganini and Mahler´s Fourth. Colón, July 20. Certainly it will be quite an occasion to hear Víctor Torres and Fernando Pérez in Schubert´s mighty cycle "Die Winterreise" (Avenida, August 8). A 9-member group called Interpreti Veneziani will present that apparently inevitable Vivaldi cycle "The Four Seasons". Auditorio de Belgrano, October 5. It will be interesting to get to know a brilliant pianist, Valentina Lisitsa, who will tackle nothing less than Chopin´s Etudes and Liszt´s "Totentanz" (Colón, October 19).

            And finally, Handel´s fascinating oratorio "Samson" (Colón, October 31), conducted by Mario Videla, with the Camerata Bariloche and the Orfeón de Buenos Aires (Néstor Andrenacci and Pablo Piccinni).