Review: DER FREISCHÜTZ at the Teatro alla Scala in Milan. After almost twenty years, the work of Carl Maria von Weber returns.
By Lukas Franceschini –
Milan, 20 October 2017.
After almost twenty years, Der Freischütz by Carl Maria von Weber, the emblem of German romantic opera, premiered at the Konzerhaus in Berlin on 18 June 1821, returns to the Piermarini hall.
The triumph that the work had at the premiere determined its rapid diffusion in a short time, the equally triumphal reception in Paris in 1841 decreed its definitive European success. The plot of the opera is taken from German folk legends and many of its arias were inspired by German folk music, therefore its national identity and harsh emotional temperament are factors that determined the concept of the German national opera, which at the time wanted counter the model of Italian melodrama, which had solid roots in the Germanic area. In the Freischütz, alongside the vocal Lied and the slow waltz, Landler, both originating from folklore beyond the Alps, a form of the Italian tradition also coexists. The natural aspect of the woods and mountains intersects with the fairy tale (even grim) to exalt a sweet love that becomes a symbol of serenity and intimacy even if born in the dark and infernal valley of the Wolf, which expresses a supernatural and mysterious dimension typical of early romanticism. The work is modeled on the not new principle of the Singspiel with spoken dialogues, but what emerges first is an overture of expressive thematic unity with all the motifs that reappear later in the score. Not secondary is the sensorial and evocative magic of the instrumental sound which is repeated with an ingenious fragmentation during Kaspar's exorcisms.
The new production presented at the Teatro alla Scala, directed by Matthias Hartmann, scenes by Raimund Orfeo Voigt, costumes by Susanna Bisovsky and Josef Gerger, can be watched but does not excite, indeed it makes you regret the previous one created by Pier'Alli. The large tree trunks that create a fascinating woodland scene are seductive, the costumes inspired by the most traditional Bohemia are appreciated, the real fire that illuminates the Wolf's throat during the exorcism is as sinister as the whole scene, however this show offers a the idea of what has already been seen and of a shallow development. Despite being lavishly crafted, it is disarming in its interior design with illuminated tubulars more suited to a modern, electric world than to the romantic environment of the forest and mountains. From a dramaturgical point of view, director Hartmann limits himself to sketching but does not find a personal reading to identify the characters, who are often left to themselves, with the exception of the demonic Kaspar, who handles the large scene in the wooded gorge in an extraordinary manner.
The direction is characterized by an extreme lyricism, however inspired more by the pathetic than by the imaginative fresco of colors and indicative descriptive pages of village life, by the supernatural and by solo melodic invention, in which the director finds more suitable ground. However, Chung's direction is excellently crafted, in every corner, but never truly exciting. The La Scala orchestra is in a great evening for cohesion of sound and timbre, it follows the concertmaster to perfection in a reading that is also enchanting, for example Agathe's leitmotif, but which does not express vigor and often with very extended tempos, which in my opinion leans towards a questionable solemnity.
The performance of the Choir, directed by Bruno Casoni, is astonishing, both in the beautiful characterization of the popular song and in the large ensemble scenes, particularly the finale.
The protagonist Max by Michael Konig has a low-pitched voice, much toned down and is rather rough in his speech. Better is Julia Kleiter's Agathe, a soprano of excellent ability, who is particularly exciting due to her lyrical-intimate depth in the second aria, while in the cavatina, although sung with a solid line, she encounters some expressive difficulties due to a lack of depth.
Eva Libeau is a sparkling Annchen scenically but the voice is very limited and sometimes weak, however it is acceptable.
Gunther Groissbock, Kaspar, is an impressive actor, Mephistophelian and insinuating, vocally he would also have the requirements to make the role relevant but technical gaps denote at times a coarse emission and a weakened high register.
Well done Stephen Milling, the Hermit, powerful and well-calibrated voice, Till von Orlowsly's Killian precise and brilliant, Frank van Hove's Kuno professional, Michael Kraus's Ottokar summary.
The group of the bride's four bridesmaids, composed of Céline Mellon, Sara Rossini, Anna-Doris Capitelli, Mereike Jankowski, was very good.
The audience was rather calm during the performance but promptly diligent at the end in decreeing a good success for the whole company.
© Lukas Franceschini
PHOTOS Brescia and Amisano