So there she was: the radiant Renee Fleming, in a light green gown full of sparkles and trailing a shot-silk scarf, took the stage in the Albert Hall, voice floating through the stratospheres like a golden eagle (UPDATE: Intermezzo has a photo of her, in said dress). Her Berg Seven Early Songs (actually eight - an extra one had been orchestrated for her) were ideally expressive, dark-toned, that voice blending with the sympathetic BBC Phil as a strand of its fabric; and the first Korngold aria, from Die Kathrin, was sweet and touching.
But she was saving the best for last. With the first notes of the great aria 'Ich ging zu ihm' from Das Wunder der Heliane, something remarkable happened. Renee didn't only sing Heliane; she became her. The tragedy, the rapture, the transfiguration - it was all there. I think everyone in my group was moved to tears. The Telegraph today speaks of the aria's 'intense, jaw-dropping beauty'.
Most think Heliane can't be staged (bad libretto, pretentious, weird, etc etc) but I'm getting the feeling that this isn't so. Because the role could have been written for Renee. She has to sing the whole thing, in an opera house. Someone simply has to stage it for her. Isn't there a brave theatre out there that will take it on? And a very brave director? We're already looking forward to the UK concert premiere of the complete opera at the RFH on 21 November (Patricia Racette will sing Heliane there). Now, I think, there's hope.
3 comments:
Jessica - I totally agree with you. In New York, I met Ms Fleming at the recent revival of Tote Stadt (she was there with both of her children) and I asked her if she would ever sing Heliane in the theatre. She said she thought some of the role was too heavy for her voice but doubted anyone would ever stage it for her. The fact that a singer of her stature is touring this aria may alert producers to what a knock-out opera this is, so let's all keep our fingers crossed.
Well, nice as the idea of Heliane being staged is, might I gently suggest that the British actually do a professional production of Die Tote Stadt first? :-)
Jessica, I'm sure you'll correct me, but I seem to remember reading in Opera a few years ago that DTS has never had a professional staging in Britain? Scandalous, if true! If not, um, some major egg on *my* face, right? :-)
Yes, Heliane would be a big undertaking: huge orchestra, requires a tenor, soprano and baritone that usually sing the heavier Wagner or Strauss roles, big chorus; a symbloism-laden libretto that's not as taut as his earlier pieces etc. Hopefully, the upcoming concert performance will be a success and a spur to a staging.
Sadly, I suspect it'll get a Eurotrash production that will obscure more than enlighten, but then I'm cynical that way. :-)
Henry, you're right. DtS has had ONE (1) performance in Britain, EVER. By a very fine, but non-professional orchestra. And it was a decade ago.
Brendan tells me, however, that there's hope...rumour has it that Covent Garden will be taking on the Salzburg production in the 2008-9 season - and I hope it's true.
Speaking of Eurotrash, I'll never forget seeing Olaf Baer being forced, in Zurich, to sing the Pierrot Tanzlied in drag with high heels, a black basque and great big wings fastened to his back...
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