Tag Archives: Avant-garde

Alfred Eaker's Fringe Cinema

THE UNCOMPROMISING ALBAN BERG: CALIXTO BIEITO’S WOZZECK (2006)

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Calixto Bieito’s 2006 staging of Alban Berg’s “Wozzeck” has reaped equal parts praise and damnation from critics and audiences.  It is a powerfully reprehensible staging of a powerfully reprehensible opera.

Wozzeck is a common solider, shaving his Captain.  The Captain chastises him for having fathered an illegitimate child with one Marie. Wozzeck defends his lack of virtue, explaining that he is too destitute to have the blessings of the Church, but Wozzeck reminds his superior of Christ’s words “suffer not the little children.” The Captain heaps even more abuse and scorn on Wozzeck, and the soldier becomes indignant.

Wozzeck and his friend Andres are cutting sticks in a field as the sun sets.  Wozzeck tells Andres of horrifying visions and Andres unsuccessfully tries to offer Wozzeck reassurance.  Wozzeck visits The Doctor.  The Doctor scolds him for abandoning his diet. The Doctor, who is obviously insane, is delighted, however, when Wozzeck tells him of the violent visions he has been having.  Meanwhile, Marie notices the regiment’s Drum Major, and the two begin an affair.  The Drum Major gives Marie earrings as he parts.  Feeling remorse for her infidelity, Marie sings her child a lullaby.

Wozzeck returns him and tells Marie of his hallucinations.  Marie is disturbed and the tension between the two of them escalates when Wozzeck notices Marie’s new earrings and begins to question her about them.  Wozzeck’s jealousy engulfs him, and he becomes wild with visions of blood.

The Captain and the Doctor are are engaged in conversation on the street.  The Doctor is giving the Captain a terminal diagnosis when they encounter Wozzeck.  The Doctor and the Captain mock Wozzeck, telling him of the affair between Marie and the Drum Major.  Wozzeck flees to a tavern where he discovers Marie and the Drum Major dancing.  The tavern idiot confronts Wozzeck, telling him ‘I smell blood,” which, naturally, sends Wozzeck into a frenzy.  In the barracks, Wozzeck gets into a fight with the Drum Major, who knocks Wozzeck down.

Later, Marie reads of the gospel account of the woman taken in adultery.  Overwhelmed with feelings of guilt, Marie joins Wozzeck for a walk in the forest.  A blood red moon rises as they are walking, and Wozzeck slashes Marie’s throat.  Wozzeck throws the knife away, and heads


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Alfred Eaker's Fringe Cinema

THE UNCOMPROMISING ALBAN BERG: OLIVIER PY’S LULU (2011)

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This is the first of a two-part series on adaptions of Alban Berg’s controversial operas.

Be forewarned: After watching these two productions of Alban Berg’s operas “Lulu” and “Wozzeck,” showering may be advisable.

Alban Berg (1885-1934) may be the most notorious member of the Second Viennese School, even more so than leader Arnold Schoenberg (1874-1951) and Anton Webern (1883-1945). Schoenberg invented the twelve-tone language and is considered the boogeyman of the musical avant-garde. Webern, who composed mainly in miniature, is, possibly, the most influential of the three. Berg, on the hand, was the most romantic of the school, as influenced by Gustav Mahler as Schoenberg. Berg died young and did not live long enough to compose a large a body of work. However, he did compose what may very well be the two most repulsive operas ever written. Even Schoenberg was aghast, and urged his younger colleague to discontinue writing such filth. A premature death stopped Berg from finishing his final opera, “Lulu.” He completed two of the three acts, and the final act was completed in the short “particell” format. Some forty years later, Friedrich Cerha completed the orchestration for the third act, which premiered under the direction of Pierre Boulez. Both “Wozzeck” and “Lulu” are extreme operas from an extreme composer. One would think that this fact would make opera fans receptive to interpretive stagings.

Olivier Py and Calixto Bieito are two of the most notorious enfant terrible stage directors working in European opera today.  In 2005, Py presented a pornographic actor on stage, in full erection, for a staging of Wagner’s “Tannhauser.”  Bieito’s staging of Mozart’s “Abduction from the Seraglio” incorporated S &M and drug addiction (the story is set in a bordello), and his “Don Giovanni” explored similar themes.  In 2007 Bieito turned to adapting Berg, first with his controversial “Wozzeck,” then with an equally provocative “Lulu” in 2009.


Excerpt from Py’s stage production of Lulu

In November of 2011, Py’s filmed version of Lulu was released on home video, and it too provoked outrage among the traditionalists. American Opera fans are among the most fanatically puritanical in the world. Py and Bieito, while creating mixed reactions in Europe, are Continue reading THE UNCOMPROMISING ALBAN BERG: OLIVIER PY’S LULU (2011) →

Alfred Eaker's Fringe Cinema

M22: THE MOZART OPERAS AT SALZBURG (2006): LA FINTA GIARDINIERA

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*This review is part of a series on the 2006 Salzburg Festival, in which the 22 filmed operas of Wolfgang Amadeus Mozart were diversely and, sometimes, radically staged by the most innovative directors working in opera today. The results provoked wildly mixed reactions and controversy, proving that Wolfgang Amadeus Mozart remains a vital voice in the world of 21st century music.

La finta giardiniera (“The Pretend Garden Girl”) is an opera buffa from Mozart’s youth (written in 1777, when Mozart was all of 18, with a libretto by Giuseppe Petrosellini).  The jealous Il Count Belfiore has attacked and stabbed his mistress, La Marchioness Violante Onesti.  Believing he has killed her, Belfiore flees.  The frayed, but quite alive Violante disguises herself as one Sandrina and, with her servant, Roberto (who also takes a disguise, as Nardo), she sets out to find Belfiore.  Nardo and Sandrina find employment as gardeners for Don Anchise, the Podesta (Governor) of Lagonero.  The Podesta falls head over heels for his new gardener while Nardo falls for Serpetto, the housekeeper.  The Podesta’s niece Arminda enters the story; she was was once the lover of Il Cavalier Ramiro, jilted him, and is now engaged to Count Belfiore.  Sandrina eludes the Podesta’s constant advances; she’s further stressed when she discovers Belfiore’s engagement.  Tension increases further when Ramiro appears at the estate.  The characters are thrown into a whirlwind of confusion: Arminda’s engagement is called off when Belfiore is officially charged with the murder of Violante.  Sandrina comes to her ex-lover’s rescue, revealing that she is Violante, alive and well.  Initially, no one believes Sandrina, but Belfiore reasserts his love for Violante.  Sandrina and Belfiore go mad in a cave, believing themselves to be gods, but their madness subsides after they fall asleep and reawaken in each other’s arms.  Arminda decides to marry Ramiro after all, Nardo decides to  marry Serpetto and the Podesta will remain single until he finds another Sandrina.

Still from M22: La Finta Giardiniera (2006)Now what is an artist to do with such a ludicrous plot?  As he often did when tackling an absurd libretto, Mozart responded with inspired music.  In the true Mozartean spirit, director Doris Dorrie has just as much fun with Giardiniera as when she bounced through her 2003 staging of Cosi fan Tutte (set in the psychedelic 60’s flower children era).  Dorrie’s personality is stamped all over this charming production.  Primary colors abound.

The opening fight between Belfiore (John Mark Ainsley from Zaide) and Violante (Alexandra Reinprecht) is performed as a ballet in the opera’s overture (and done true to period—traditionalists, do not get your hopes up).  Dorrie and set designer Bernd Lepel replace the garden estate with a busy, 21st century superstore.  A black leather clad Ramiro (mezzo-soprano Ruxandra Donose) looks like an extra from Road Warrior (1981), while the two leads are still adorned in powdered wigs, making for whimsical contrast.  Veronique Gens’s Arminda could give Cruella de Ville competition and she delights in tormenting her poor Ramiro (Donose supplies meaty angst).  Audrey II from Little Shop of Horrors (1986) shows up ( I kid you not), chomps down on both Belfiore and Violante, thus generating their “madness’—which takes place in a spider’s den with an arachnid that’s about as animated as Jack Arnold’s Tarantula (1955).  But, it’s all in good fun, even if a good thirty minutes of music has been excised, and if conductor Ivor Bolton and his orchestra don’t seem to have as much fun as Dorrie and company.

Dorrie wonderfully succeeds in elevating what could have been a lackluster event into a spirited Halloween-like Mozartean treat.

Alfred Eaker's Fringe Cinema

M22: THE MOZART OPERAS AT SALZBURG (2006): LA FINTA SEMPLICE, LO SPOSO DELUSO & LA OCA DEL CAIRO

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This review is part of a series on the 2006 Salzburg Festival, in which the 22 filmed operas of Wolfgang Amadeus Mozart were diversely and, sometimes, radically staged by the most innovative directors working in opera today. The results provoked wildly mixed reactions and controversy, proving that Wolfgang Amadeus Mozart remains a vital voice in the world of 21st century music.

Director Joachim Schlomer undertook what may have been the most ambitious project of the entire M22 Salzburg Mozart Festival in 2006.  Over the course of three evenings, Schlomer presented Odysseys (Irrfahrten).  Schlomer begins the first evening of his odyssey with an early Mozart opera, La finta semplice. This is the starting point of a challenging journey with the composer, as filtered through Schlomer’s vision.

In 1769 the twelve year old Mozart composed his three-act opera buffa La finta semplice (The Pretend Simpleton) to a libretto by poet Marco Coltellini, which was in turn based off of Carlo Goldoni’s comedy.  It is one of the most appetizing of Mozart’s early operas.

Captain Fracasso and his sergeant Simone are stationed at the home of two wealthy, foolhardy brothers: Don Cassandro and Don Polidoro. Cassandro and Polidoro have a sister, Giacinta, with whom Fracasso is smitten.  Simone is chasing after the maid, Ninetta. Cassandro, a notorious misogynist, is continually at odds with his womanizing brother.  Fracasso’s sister, Rosina, arrives to help her brother and, with Ninetta’s Continue reading M22: THE MOZART OPERAS AT SALZBURG (2006): LA FINTA SEMPLICE, LO SPOSO DELUSO & LA OCA DEL CAIRO →

Alfred Eaker's Fringe Cinema

M22: THE MOZART OPERAS AT SALZBURG (2006): IL SOGNO DI SCIPIONE & ASCANIO IN ALBA

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* This review is part of a series on the 2006 Salzburg Festival, in which the 22 filmed operas of Wolfgang Amadeus Mozart were diversely and, sometimes, radically staged by the most innovative directors working in opera today. The results provoked wildly mixed reactions and controversy, proving that Wolfgang Amadeus Mozart remains a vital voice in the world of 21st century music.

Here are two operas composed by a fifteen- year- old Mozart. He composed the first, the dramatic serenade Il sogno di Scipione (The Dream of Scipione), for his patron the Archbishop Colloredo (with whom he later had a famous falling out with).  The music is set to Pietro Metastasio’s allegorical libretto.  The Roman commander Scopione must choose between Fortune (the goddess of earthly pleasure) and Constancy (the goddess of moral virtue).  Unable to make up his mind, Scipione presses questions in a series of existential passages.  He discovers he is in the temple of heaven.  He moves from the Elysian Fields to Elysium, where he meets the spirits of his father, Aemillius, and grandfather, Pubilius.  They advise him that duty is above all and diligence will be rewarded with beautiful dwellings.  Skeptical of mere luck, Scipione chooses the virtue of Constancy and invokes Fortune’s wrath, manifested in a great storm.  Scopione endures the elements but awakens to find the test was a dream.  Licenza praises Scopione for his steadfastness.

Still from M22: Il Sogno di Scipione (2006)Director Michael Sturminger, Blagoj Nacoski as Scipione, Louise Friba as Constancy and Bernarda Bobro as Fortune flesh out the composer’s conflicting priorities in a Buñuel-esque reverie. With Mozart’s later Giovanni, familiarity breeds contempt.  Scipione is Giovanni’s alter ego.  He finds refuge and passion within Constancy’s joy in repetition.  Constancy, coming off, at first, as a June Cleaver type, even has children here, yet she, like Buñuel’s suburban Severine, is also erotically unhinged.
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