Opera fantastique in five acts (1881), new version by Sylvain Cambreling & Christoph Marthaler. With Eric Cutler and Anne Sofie Von Otter. Teatro Real, filmed on 05/2014
Who loves whom in Così fan tutte, Mozart’s and Da Ponte’s cruelly comic reflection on desire, fidelity and betrayal? Or have the confusions to which the main characters subject one another ensured that in spite of the heartfelt love duets and superficially fleetfooted comedy nothing will work any longer and that a sense of emotional erosion has replaced true feelings? Così fan tutte is a timeless work full of questions that affect us all. The Academy Award-winning director Michael Haneke once said that he was merely being precise and did not want to distort reality. In only his second opera production after Don Giovanni in 2006, he presents what ARTE described as a “disillusioned vision of love in an ice-cold, realistic interpretation”.
Directed by Ursel Hermann, this 2005 production of Mozart's last opera stars a remarkable cast with Susan Graham in the role of Sesto, Christoph Prégardien giving life to Tito and Catherine Naglestad embodying the ambitious Vitellia. Premiered in September 1791 for the coronation of Leopold II, King of Bohemia, La Clemenza di Tito celebrates the figure of the merciful sovereign
Alexandre Tarta's production of Berlioz's opera, recorded live at the Salzburg Festival in 2000. Sylvain Cambreling conducts, with performances by Jon Villars, Russell Braun and Tigran Martirossian.
The three main soloists have voices on a scale that can compete with these flashy production values – White and Kasarova, in particular, sing at a level of intensity that would swamp anything less; the climactic seduction trio has rarely been sung so well or with such an overpoweringly polymorphous eroticism. Cambreling marshals his forces effectively, giving full rein to the work's showstoppers like the "Hungarian March" but not neglecting the subtler less kinetic Gluckian side of Berlioz's vocal writing. Recorded live at the Salzburger Festspiele, 1999.
Musically, this is a superlative performance: Paul Groves is a sympathetic Faust, Willard White is an appropriately menacing Mephistopheles, and Vesselina Kasarova is an exquisite Marguerite. Sylvain Cambreling sensitively conducts the Staatskapelle Berlin, and two excellent choirs' vocal contributions should not go unnoticed. (However, condolences to those choir members stuck in that ludicrous cylinder.) Both visual presentation and sound are, as usual for Arthaus Musik discs, first-rate; only the staging itself comes off as less than worthwhile.
