Bartók: Bluebeard’s Castle
TivoliVredenburg, 3rd July 2020
There can be little doubt that, along with ballet, fully staged opera will be the last of the arts to return to any sort of normality once this pandemic is over (unless it’s directed by Robert Wilson, whose frigid productions have been “socially distanced” for decades). This week, Madrid’s Teatro Real “staged” La traviata with principal cast members confined to taped areas of the stage. Opera in concert may well be the safest way to proceed for now. Bartók’s Bluebeard’s Castle, however, is an opera that’s often cited as working better in concert than on the stage anyway. After watching this terrific performance at TivoliVredenburg, I’m much inclined to agree.
Rinat Shaham, Gábor Bretz, Karina Canellakis and the NRPO
© Avrotros
Newlyweds Bluebeard and Judith are not exactly the closest of operatic couples, so the physical distance between their music stands, angled in towards the orchestra, was no hindrance. Gábor Bretz and Rinat Shaham are both experienced in their roles, his firm bass in commanding form, her mezzo clear and expressive as the inquisitive new bride who wants to see behind the seven locked doors of her husband’s castle. Shaham was excellent at capturing Judith’s increasing horror at the blood seeping through each room, Bretz remaining steely-eyed and implacable.
Karina Canellakis
© Avrotros
Karina Canellakis conducted a very polished Netherlands Radio Philharmonic Orchestra in Eberhard Kloke’s new reduction of the score, which only premiered at Stadttheater Biel a month before lockdown. It puts the focus squarely on the woodwinds, with alto flute, alto saxophone and contrabass clarinet as new additions. Strings can be reduced to just two to each part, but here there appeared to be about 20 players, plus harp, four brass, two percussion and one player on piano, celesta and synthesiser.
Netherlands Radio Philharmonic Orchestra
© Avrotros
So, an orchestra of just under 40, which is a far cry from the last time I heard Bluebeard in concert, where a youth orchestra of 160 – I kid you not – positively swamped poor Judith. Whilst it may have sounded very different in the hall, there didn’t seem to be too much lack of weight from the strings over the stream. Only at the great C major chord as the Fifth Door is opened could we have done with a few more decibels.
Gábor Bretz
© Avrotros
Canellakis has called this her “crazy project” but, however wild, her imagination paid dividends here. What made this concert staging a knockout was the gripping way it was lit and filmed, shot in widescreen. Henk-Jan van Beek’s lighting design was eye-popping, drenching the stage with colour as each door was opened, the orchestra and conductor caught in its kaleidoscopic beams. Close camera angles, often from low down, gave a claustrophobic feel, often wheeling around singers and players.
Gábor Bretz
© Avrotros
Swift cuts between cameras added further tension and the eerie sigh from behind the First Door as Bluebeard’s torture chamber is revealed was filmed in a way that it seemed to come from Canellakis herself. As the silvery final door was unlocked, Bluebeard’s three previous brides appeared in silhouette above the stage, soon to be joined by a veiled Shaham. The filming added its own sense of unfolding horror to this macabre operatic chiller. Socially distanced or not, I simply cannot imagine any other concert staging of Bluebeard making quite this impact. Outstanding.