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Data dello spettacolo: 07 Apr 2014

Arabella	Malin Byström
Zdenka	Juliane Banse
Mandryka	Michael Volle
Matteo	Roberto Saccá
Contessa Waldner	Catherine Wyn-Rogers
Conte Waldner	Martin Winkler
Conte Elemer	Brian Jagde
Conte Dominik	Alexey Lavrov
Conte Lamoral	Keith Miller
Fortune Teller	Victoria Livengood
Fiakermilli	Audrey Luna
Direttore	Philippe Auguin
Regia	Otto Schenk
Regia ripresa da	Stephen Pickover
Scene	Günther Schneider-Siemssen
Costumi	Milena Canonero
Luci	Gil Wechsler
Metropolitan Opera Orchestra and Chorus

 

Richard Strauss's sumptous romantic opera Arabella was performed at the MET after more than 10 years of abscence from this stage and it was an event to remember thanks to the talent and incredible artistry of a cast of marvelous singers led by Swedish soprano Malin Byström as Arabella, German baritone Michael Volle as Mandryka, Swiss soprano Juliane Banse as Zdenka and German tenor Roberto Saccá as Matteo. Maestro Phillipe Auguin conducted the MET Orchestra in this glorious, elengant and sometimes delicate score that brings out the best (and worst) of Viennese nineteenth century society. 

The MET Orchestra proved to be one of the best of the world in playing this complicated yet beautiful and colorful music that has more in common with Strauss's Der Rosenkavalier than with Salome or Elektra. This production by Otto Schenk is gorgeous to look at and it really demonstrates how important it is to keep traditional stagings in operas such as this that depend a lot in the time it is presented. The beauty you heard in the music was also a reflected by what you saw on stage and that is very fulfilling for an audience.

It was a delight to see and hear soprano Malin Byström embody the role of the elegant and proud Arabella. Hers is a almost mezzo-ish kind of voice, with a big, powerful middle register that can mold lyrical piani and whose high notes are equally both sonorous and shining. She sang with exquisite phrasing and lieder-like elegance her act one account of seeing Mandryka for the first time as well as her monologue "Mein Elemer! Das hat so einen sonderbaren Klang!" Her diction in German was clear, her way of commanding the stage in all her entrances, specially in that stunning white dress of act II, made her the perfect Arabella. Her interpretation of the role also got a lot of feedback thanks to Michael Volle's larger-than-life performance as the burly yet tender Mandryka. It is very difficult to achieve a portrayal of the role of Mandryka as rich and as captivating as the one Volle gave. He has a commanding stage presence and a charm that melt your heart in the moment he appears on stage. Having heard him only in Wagner roles, it was a pleasure to see how beautiful his voice is in a role such a Mandryka that requires both strength and sweetness. His act II duet with Arabella "Sie woll'n mich heiraten, sagt mein Vater" and his final scene with Byström "Das war sehr gut, Mandryka" were fabulously sung and acted. 

The other couple in this Arabella was the one formed by Juliane Banse's noble and courageous Zdenka and by Roberto Saccá's ardent Matteo. Both singers were doing their MET debut with this roles and gave their all on stage, singing with passion. Banse's voice is more metallic and it was a nice contrast with Byström's silky soprano, specially in their duet "Ich danke, Fräulein!" where both instruments blended well and you could feel the differences of character between the two sisters. Saccá's Matteo was well acted and marvelously sung. He avoid being all insufferable, as many use to portray him. He sang very well and made the most of a rather ungrateful role. Mezzo Catherine Wyn-Rogers as Countess Waldner has a gorgeous voice and sounded quite well in all her scenes, as did baritone Martin Winkler as Count Waldner. A special mention has to be made to tenor Brian Jagde, who sang Count Elemer. He immediately stood out from the trio of Arabella's suitors thanks to his handsome stage presence and, most of all, of his gorgeous voice. He has trumpet-like, ringing high notes that reverberated in the auditorium.

Audrey Luna's Fiakermilli had all the high notes in place and made the most of such a short role.

All the textures of the score and masterfully conducted by Phillipe Auguin and played equally by the MET Orchetra. The prelude to Act III was heavenly and the music that accompanies Arabella while she goes down the stairs with the glass of water for Mandryka was really breathtaking.  It was a thrilling performance of one of Strauss's lesser performed operas.

Such a pity that this cast didn't get an HD transmission. It was really worth it for the vocal quality of the performers and the beauty of the staging. 

Ingrid Haas