Never let it be said that god (aka God)
does not have a sense of humour. During
the celebrations of his (His) birth on a day on which he almost certainly was
not born I came into contact with my Catalan "family".
And as certainly as Catalans do not drink enough alcohol,
so I just as certainly contracted an illness from Toni’s family. It is traditional for at least one of the
family to be ill for Christmas Day and this year is was Toni’s brother-in-law’s
turn. I seemed to have escaped the lurgi
during the actual festivities but a visit in the New Year, with the illness now
having transferred itself to Toni’s brother-in-law’s wife (aka his sister) and
obviously having gone up a notch in virulence – the very next day I succumbed.
Although I got up at the crack of dawn to
take Toni for his blood test, on my return I adopted my patented approach to
all types of illness and took to my bed for a day. Don’t knock it, it worked. Apart from a few alarms and excursions (over
which I will draw the discreet mist of air freshener) I spent about 15 hours in
bed. And felt better.
I suspect that the illness was lurking
biding its time towards victory during my time in the opera – but, thankfully,
apart from a certain tightness around the tum I was able to get through the
three hours of the music.
The opera was “Linda di Chamounix” by
Gaetano Donizetti – what a glorious load of rubbish it all was!
As the last opera I went to in the Liceu
was La Grande Macabre the sheer tunefulness was like balm on an abused ear!
To my mind this was the most satisfactory
ensemble piece that I have seen in the theatre.
There was not a duff voice among the cast with the possible exception
of Carlo (Juan Diego Flórez) who I felt
lacked the power and authority necessary for the role. I might add that I was obviously in a very
small minority as was made obvious by the storm of appreciation that greeted
his star arias. Decent tenors are as
rare as a musical opera by Ligetti and perhaps I was just annoyed that Flórez
was no Domingo (which I readily admit is unfair) and I was able to enjoy his
voice as well!
Melodramatic rubbish Linda di Chamounix
might be but the director (Emilio Sagi) has made the most of the scenic
opportunities that the story offers. The
set (Daniel Blanco) is basically a box with curved sides with three entrances
on each side with a di Chirico perspective effect.
Up-stage is raked to provide a hill/slope
which provides a startling background to the action and provides the basis for
some breath-taking backlit, silhouette set pieces. I particularly like the use of the chorus to
“plant” the slope with flowers and also the use of cyclists to give a certain
dynamism to the space.
The set ends downstage at the proscenium in
a black glittering and reflective thrust.
I spent most of the opera wondering if this shining surface was there
intentionally and if so what function it was supposed to have. My ideas became so involved and pretentious
that they imploded and I simply gave myself to the music.
Although simple the set was an excellent
backdrop and Act II saw the introduction of a grand staircase which was
stunning.
Act III used the simple expedient of linked
tables lit like a great white way for the dramatic entrance of Linda for her
finale.
The cast are clad mostly in khaki, light
browns and deep creams and look terminally tasteful with the comic villain, the
Marqués de Boisfleury, in black. His
snail-like entrance in the slowest electrically driven black limousine that I
have seen in opera was almost a coup de theatre, but not quite.
But the music. The music was wonderful, sometimes with the
comforting predictability which keeps you warm and cosy and sometimes with
shock as the orchestra attempted (very successfully) to mimic the sound of a
hurdy-gurdy.
But enough already, the title of the opera
has the character Linda in it and on her performance makes or breaks this piece
and this Linda (Diana Damrau) was a triumph.
She made the sometimes-absurd coloratura (is that a tautology?) seem
dramatically convincing. Her mad scene was
not as flamboyant as that in Lucia, but she made the most of it and received
the extended applause that she deserved.
The orchestra under Marco Armillato was
excellent though there were places where the singers were drowned out and there
were the usual problems with wayward horns!
But a fantastic sound ably augmented with the chorus directed by José
Luis Basso.
I liked the modern implications of
migrant workers; patronising hypocrisy on the part of the rich; knowing
acceptance on the part of the poor.
Perhaps if you worked hard you could update this rickety narrative and
make it politically appropriate.
The story of the opera is weak, very weak –
but I did take note of certain aspects of the opera which were though
provoking. The chorus are going to Paris
to get money to send back to families at home, while the lord of the manor goes
to the same city for frolics – and all the workers know exactly what he is up
to.
The end of the opera was also
interesting. The inevitable and totally
unconvincing re-establishment of sanity and the uniting of the lovers was not
as facile as I expected it to be.
Linda’s response to Carlo’s fervid assertion that he loved her was, “If
you loved me you would not have made me unhappy.” Fair point!
The eventual breakthrough in Linda’s journey from melodramatic madness
to loving sanity was actually made to seem reasonable! Quite an achievement!
Overall a wonderful evening’s entertainment
– enlivened by the two ladies who spoke to me in the interval as we swapped
stories of opera visits!
And time to get on and start preparations
for the next opera whose title and composer I had never heard of before the
start of my opera subscription. Such is
education!
About which, of course my mind is
increasingly brooding about as the date gets nearer to the dreaded 9th
of January.
It would be absurd to allow dwelling on the
awful future to infect the pleasant present – so just tell me how you do that
without using Grade A drugs!
This afternoon we went to Sitges and,
because our tried and tested restaurant was closed we tried a new place. This was a little further away but gave the
sort of poncey food that I like. Pasta
with Rochefort cheese sauce and woodland fruit topped with Parmesan; rice with
prawns, cod and egg; biscotti with chocolate sauce and washed down with
sangria. Excellent value at €12·50. A place to go back to.
I took the usual pictures with my newish
camera in Sitges and I will have to see if I have produced anything which is in
any way a little different from the many pictures of the church in Sitges, the
solitary palm tree or the sculpture on the roundabout that have been my
traditional subjects. I live in hope!