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Alfonso Und Estrella (Review) Eftychia Papanikolaou Alfonso und Estrella (review) Eftychia Papanikolaou Notes, Volume 66, Number 3, March 2010, pp. 623-624 (Review) Published by Music Library Association DOI: https://doi.org/10.1353/not.0.0297 For additional information about this article https://muse.jhu.edu/article/376361 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] Video Reviews 623 published by the Rossini Foundation in Foppa, inventively displays delightful use of Pesaro, incorporating an autograph discov- double-entendre and effectively demon- ered in Sweden, making this production a strates Rossini’s fully developed and outra- landmark in Rossini videography. geous opera-buffa style. This work is the di- Next, L’occasione fa il ladro was Rossini’s rect conduit to L’italiana in Algeri. Michael fifth opera premiere in 1812 and although Hampe stages the opera at the time and lo- legend implies that it was written in eleven cation of its original setting, culminating in days, this production reveals the opera’s an appealing, lively production. Amelia outstanding construction, expressive Felle and David Kuebler deliver the best melodic language and subtle character de- singing, exhibiting excellent coloratura. lineation. This is a striking production. The This unique collection of one-act come- attractive sets and costumes are consistent dies from Rossini’s early output fills a sig- with the locale and period. Michael nificant void in the sparse video collection Hampe’s direction is sensible and straight- of composer’s works. The performance forward and is the perfect vehicle for the quality is exquisitely consistent within the fine cast that has been assembled. The pro- collection and the pricing is attractive, duction, a collaboration between the Oper thereby making it an excellent acquisition. der Stadt Köln and the Opéra de Mont- pellier, displays the fruit of the collabora- tive musical labors of Hampe and Gelmetti. Finally, Il signor Bruschino, the last Rossini Eldonna L. May farsa and his third collaboration with Wayne State University Franz Schubert. Alfonso und Estrella. DVD. Nikolaus Harnoncourt / Chamber Orchestra of Europe, Arnold Schoenberg Choir. With Luba Orgonasova, Thomas Hampson, Endrik Wottrich, Olaf Bär, Alfred Muff. Stage direction by Jürgen Flimm. Canada: Naxos, 2009, 1997. 2.110260. $29.99. It is one of my favorite questions to ask a “miserable, still-born, bungling piece of when I teach a course on the history of work that even so great a genius as Schu - opera: name one composer of German bert was not able to bring it to life” opera between Weber and Wagner. I can’t (Elizabeth Norman McKay, Franz Schubert: remember a single time when a student A Biography [Oxford: Oxford University came up with a correct answer—probably Press, 1996], 118). The plot, which McKay because the names of Spohr, Lortzing, and has related to Shakespeare’s As You Like It, Marschner do not lie in the core of the involves a number of conventional charac- operatic canon. When Schubert’s name ters and predictable situations: Alfonso, the comes up in this context, everyone is sur- son of exiled Froila, former King of Léon, prised to find out that the great composer meets by chance and falls in love with of Lieder actually did venture into the Estrella, the daughter of King Mauregato, genre of opera, although unsuccessfully. the usurper of Froila’s throne. Adolfo, Watching this production of Alfonso und Mauregato’s general, leads a rebellion Estrella will not, unfortunately, help dispel against the King when the latter refuses to the typically negative reception of Schu- offer him Estrella as his wife. Alfonso man- bert’s operatic efforts. ages to squash the revolt and arrest Adolfo Schubert composed Alfonso und Estrella and, after he has learned of his royal lin- between September 1821 and February eage, witnessed the two kings’ reconcilia- 1822 set to a story by his friend Franz von tion, and consented to his father’s abdica- Schober (1797–1882). A poet of question- tion of the throne, he claims Estrella as his able talent, Schober created a libretto that wife and Queen of Léon. In a similarly pre- has invariably been described as dramati- dictable manner, the music is replete with cally static, deficient and flawed—later in hunting and battle choruses, pastoral and his life, in 1876, he even famously called it romantic evocations of love, a chorus of 624 Notes, March 2010 conspirators, an obligatory farewell duet, tumes are an appealing mixture of period- and even a ballad sung by Froila on the leg- inspired and contemporary-looking outfits end of the “Cloud Maiden,” a trope on the that complement Erich Wonder’s minimal- Lorelei myth. In an interesting departure ist and dimly-lit set. from Singspiel tradition, Schubert replaces It is no wonder the opera received few spoken dialogue with accompanied recita- performances after its 1854 premiere in tives, imbues the texture with beautiful Weimar by Franz Liszt, and it is thanks to melodies, borrows intricate Rossinian- the Schubert bicentennial that this produc- inspired ensemble scenes, and intimates tion was filmed at the Theater an der Wien a move toward the emerging romantic in 1997. The DVD includes a booklet with tradition. biographical notes on the performers, a Endrik Wottrich and Luba Orgonasova short essay on the opera, and an informa- are charismatic and vocally wonderful in tive track-by-track synopsis by Richard their respective eponymous roles. The role Lawrence. For Schubert lovers (who have of the deposed King Froila is sung superbly the option of either English or German by Thomas Hampson, whose made-up old subtitles), this is a unique opportunity to and feeble look contrasts with his remark- view a staged production of this opera on able vocal prowess. Nikolaus Harnoncourt DVD, even if it comes with a delay of more leads an effective performance of the than a decade since its filming. General Chamber Orchestra of Europe, an ensem- opera goers will probably find it difficult to ble that was founded in 1981 by young add Alfonso und Estrella on their list of must- alumni from the European Union Youth see operas. Music scholars, however, may Orchestra. Redoubtable director Jürgen have one more opportunity to lament the Flimm (who will assume the position of fact that, had Schubert been able to collab- artistic director of the Deutsche Staatsoper orate with librettists of a higher caliber, in Berlin, after his recent resignation from and had he lived longer and under more the Salzburg Festival) undertook the ex- auspicious circumstances, he might have tremely challenging task of extracting every provided us with the missing link in the bit of dramatic nuance out of this otherwise great tradition of romantische Oper between static libretto. There was very little Flimm Weber and Wagner. But these are too many could do to enhance scenes of sub-standard hypotheses for this production to undo. dramatic coherence, such as the dramati- cally unconvincing series of tableaux of Act Eftychia Papanikolaou Three. Florence von Gerkan’s austere cos- Bowling Green State University Jules Massenet. Manon. DVD. Jesús Lopez-Cobos / Orchestra and Choirs of the Opéra national de Paris. With Renée Fleming, Marcelo Ál- varez, Jean-Luc Chaignaud, Alain Vernhes, Michel Sénéchal, Franck Ferrari. Directed by Gilbert Deflo. [Halle (Saale), Germany]: Arthaus Musik, 2008, 2001. 107 003. $39.99. One century and a quarter after its pre- leased by TDK in 2003—Arthaus perhaps miere, Manon (1884) continues to hold the played it safe, yet no opera fan will regret to stage, inspiring scores of sopranos to reen- have an audio-visual souvenir of Renée act the innocent maiden’s metamorphosis Fleming sharing the stage with Marcelo Ál- into femme fatale. Speaking to this endur- varez (Des Grieux), Franck Ferrari (de ing success is the recent release of no fewer Brétigny), and even the veteran Michel than three DVDs (on Virgin, Deutsche Sénéchal (Guillot de Morfontaine). Grammophon, and Arthaus) starring such Musically speaking, the Arthaus Manon celebrities as Natalie Dessay, Anna leaves little to be desired. Lopez-Cobos’ Netrebko, and Renée Fleming. By re- conducting may lack the analytic precision issuing a classic production from the Opéra of Barenboim’s (on the DG version), still Bastille—it was premiered in June 1997, it is colorful throughout and in line taped by France 2 in 2001, and first re- with Massenet’s delicate blend of opéra-.
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