Spotlight on Rusalka by Joseph So
/ November 1, 2011
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Fairytales have long
been fodder for the operatic imagination. From Cenerentola to
A Midsummer Night’s Dream to Hansel und Gretel, fairytale-inspired
operas count among the most popular in the repertoire. However, not
all fairytales have fairies or even happy endings. Look at Hans Christian
Andersen’s Little Mermaid. The beautiful Mermaid, having fallen
in love with the handsome Prince, leaves her watery home to become human.
But when the Prince abandons her for the Princess, the Little Mermaid
dies of a broken heart. This European fairytale resonates universally,
as it has been “adopted” by many cultures around the world and translated
into virtually every language.
The story of Rusalka
bears a close kinship with Andersen’s story, but with a darker twist.
In Slavic legend, a rusalka is a water nymph that lives at the
bottom of a lake or river, and only surfaces at night to bewitch handsome
men with her dancing, leading them to watery deaths. These nymphs are
said to be malevolent spirits of women who had been wronged by men and
they seek revenge. A rusalka is thus another variation of the
archetypal femme fatale, sister to Cleopatra, Dalila, and Salome
– alluring and desirable, but dangerous and forbidden. However, the
darker elements are played down in Antonín Dvorák’s opera despite
the sad ending. Based on statistics from 2005-2010, Rusalka,
at eighty performances worldwide, wins hands down as the most popular
Czech opera, followed by Jenůfa
(71), The Bartered Bride (62), Kátá
Kabanová (30), and The Makropoulos Case (21). Rusalka
came in 56th among a total of 2,153 operas performed in that
period, and Dvorák is 33rd in the composer sweepstakes,
beating out such luminaries as Stravinsky, Shostakovich, Berlioz, Debussy,
and Vivaldi.
Dvorák composed
Rusalka in 1900 based on a libretto by Czech poet Jaroslav Kvapil.
The opera premiered in Prague the following year to great acclaim, and
it soon gained a rightful place in the standard repertoire in Central
Europe and later elsewhere. Musically, Rusalka is one of the
most melodically inspired compositions by Dvořák, the score a continuous
lyrical outpouring sure to stay with the listener long afterwards. Scored
for a “Late Romantic orchestra,” it’s opulent and evocative, at
times almost reaching Wagnerian heights. The vocal writing is demanding
for all the principals. “Song to the Moon” is the most famous set
piece that has found its way to concert programmes and solo discs. The
role of Rusalka requires a silvery tone and a shimmering high register,
but also the power to ride the large orchestra at climactic moments.
The Prince requires a lirico-spinto tenor with a free upper range.
It doesn’t hurt to have singers who look the part, as in the Robert
Carsen production for Paris with Renée Fleming and Sergei Larin, or
the recent Munich production with Kristine Opolais and Klaus Florian
Vogt. The other principals are Vodnik (bass), the witch Ježibaba
(mezzo), and the Foreign Princess (dramatic soprano), all with their
own moments to shine. The opera is surprisingly long, lasting three
and a half hours with two intermissions. Opéra de Montréal has assembled
an excellent cast led by American soprano Kelly Kaduce. I heard her
last year as a fantastic Cio-Cio-San in Santa Fe – she certainly has
the voice and the dramatic intensity for Rusalka. The Prince is fast-rising
Ukrainian spinto tenor Konstantin Andreyev, and Canadian bass
Robert Pomakov sings Vodnik. Also interesting is Romanian mezzo Liliana
Nikiteanu as Ježibaba, a role usually taken
by more mature singers.
Rusalka, Opéra
de Montréal, Nov. 12, 15, 17, 19 at 7:30 p.m., Salle Wilfrid-Pelletier
www.operademontreal.com
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Discography
There are plenty
of excellent CDs of Rusalka. Slovak sopranos Lucia Popp and Gabriela
Benacková were great Rusalkas
of the past—for authenticity I can recommend the 1984 recording with
Benackova, Polish tenor Wiesław
Ochman and conductor Václav Neumann on Supraphon. Fans of Renée Fleming
and Ben Heppner wouldn’t want to do without their 1998 set on Decca
under Charles Mackerras, with both principals in top form. The supporting
singers are top-notch—particularly the Vodnik of Franz Hawlata and
the Ježibaba of Dolora Zajick. The
chief pleasure of the recently released set from Glyndebourne is the
Rusalka of Puerto Rican soprano Ana Maria Martinez and to a lesser extent
American tenor Brandon Jovanovich; not so idiomatic but the cast benefited
from the baton of Jiři Bělohlávek.
The DVDs are more
problematic. The ENO set from the 1980s available on Arthaus Musik,
sung in English, is not exactly authentic. The recent set from Munich,
released this summer on C Major/Unitel Classica, has the terrific Rusalka
of Latvian soprano Kristine Opolais, the “Nicole Kidman of Opera.”
I saw her Rusalka in July and she looks more like American actress Elizabeth
Montgomery, and every bit as wonderful as on this DVD. Klaus Florian
Vogt is a handsome but vocally wimpy Prince; Günther Groissböck a
well sung and menacing Vodnik. The chief controversy is the radical
concept by Martin Kušej, framing the story within the tragedy of the
Austrian child sex abuser Josef Fritzl. If you can accept of this re-imagining,
this performance is for you. Otherwise, stick to the “milder” Robert
Carsen production starring Fleming and the late Sergei Larin, with James
Conlon conducting the Paris forces on Arthaus Musik. |
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