Rossini's La Donna del Lago
Met premiere - February 16, 2015
Elena, the beautiful lady of the lake Photo credit: Ken Howard / Met |
I am always excited when underperformed bel canto gems are brought to the spotlight, even more so if
through a new Met production with a stellar cast. We got to the Met ready to be
swept away by bel canto fireworks and
to discover an unknown opera seria. Based on Sir Walter Scott’s 1810
poem The Lady of the Lake, Rossini’s La Donna del Lago premiered
in 1819 and is truly epic in tone. One can really feel proto-Verdian touches lurking
here and there, especially in its massive choruses and its patria oppressa (oppressed
fatherland) themes.
Rossinian tenor fight! Photo credit: Ken Howard / Met |
While this all sounds wonderful, the plot turned out to be
rather weak, with the main tensions coming from Elena being the love interest
of three different men, one (Malcolm) she loves back, one (Rodrigo) is a rebel
army leader her father wants her to marry, and one (Giacomo) is the King and
enemy of her clan of Scots (but when we meet him he’s lost in the woods and
disguised as the hunter Uberto). There is some vague theme of duty versus love
but otherwise no particularly stirring passion, other than that of the three
men all crazy about Elena, who remains rather distant. The best dramatic
moments are when the King and Rodrigo fight over Elena and when Malcolm is
suicidal because he thinks he’s losing her.
The inexplicably merciful King Photo credit: Ken Howard / Met |
The whole nationalistic theme of in-fighting among the
Scottish clans is not very fleshed out and merely serves as a framing device
for the love quadrangle to develop. Most irritatingly, the finale and role of
king Giacomo are not very plausible: if he’s so in love with beautiful Elena
and keeps popping up in a hunter’s disguise to try to kiss her and sing her
nice stuff and even kills his rival Rodrigo, why on earth in the end does he
act like a deus ex machina who suddenly seems to have had a change of
heart and only wants to solve everyone’s problems by pardoning all and marrying
Elena off to Malcolm on the spot? What’s the deal, is Malcolm any better than
Rodrigo from the King’s perspective? They’re both scot warriors leading armies
against the King and in love with Elena, all the reason to crash them both. Go
figure. The change of heart of the King, which ultimately sets the tone for the
finale and thus for the whole opera, is not justified in any way by the
libretto except for the chorus blurting “Oh re clemente” (Oh merciful king),
which after all his romantic frenzy and womanizing pursuit of Elena throughout
the opera really does not make much sense. The theme of unconditional
compromise and mercy is clear but forced and feels rushed.
Rodrigo's Scot clan ready for battle Photo credit: Ken Howard / Met |
Plot issues aside, what is particularly surprising is just
how formulaic this opera seems. Because three different love interests have to
be set up, Act I basically serves purely as exposition and, as a result, I
found it pretty slow and even a bit dragging. The dramatic musical action only
really gets going in the beginning of Act II when King James, disguised as
Uberto, and his rival Rodrigo go head to head in a battle of the tenors, which
is one of the first times that things get interesting musically. A weird
Rossini passage, if you ask me. Musically it was exciting and more complex and
multi-layered (particularly under Michele Mariotti's baton) than the more buffa works he’s more known for and there
are some pretty pleasant bel canto
moments, however, the opera did not feel as potent, tight and incisive as
others by Rossini. Also, I found the libretto by Andrea Leone Tottola to be too
stiff and formulaic, without the poetry or language depth that one finds in
Rossini’s lighter fare.
Uberto (aka King Giacomo) declares his love Photo credit: Ken Howard / Met |
The cast was very strong across the board but, surprisingly,
the second tier roles as Malcolm (sung by mezzo Daniela Barcellona) and
Rodrigo (by tenor John Osborn) delivered the best performances. Joyce
DiDonato and Juan Diego Florez as Elena and the King were quite good
but not as sensational as they can be. It felt like they were holding back a
bit and not riding their roles with the extraordinary bravura, energy and
confidence I’ve seen them display in the past. A couple of exceptions: Joyce
killed it in her last aria Tanti affetti, that really felt like the
final aria in Cenerentola both musically and content-wise; Juan Diego only
brought out his A-game when battling with tenor John Osborn (Rodrigo) in the
beginning of Act II. It felt like the challenge of going head to head with a
similar singer propelled him to push harder. Barcellona and Osborn were more
impressive, fluid and effortless, owning the Met space and attacking their
roles with gusto and depth. Barcellona, in particular, delivered one of the
most moving moments of the evening with her interpretation of Stelle
spietate.
Paul Curran’s production is essential and on the
empty/sad side of things, not distracting but not terribly engaging either.
Most of the opera is set on a rocky platform that serves as backdrop for Elena’s
little cabin as well as for all war activities (with ample barbaric display of
human heads set on poles). Where are the lush green hills of the Scottish
countryside? Beats me. People talked about projections but unfortunately those
were not visible to us up in first few rows of the family circle. The final
scenes in the King’s castle were more spectacular with the rocky platform
opening up down the center to expose a red rectangle underneath that in turn
becomes the throne room providing a striking contrast between the court dressed
in luminous gold and white and the poor Scottish warriors in their kilts and
bloody rags.
All in all I found La Donna del Lago underwhelming, I
may have been able to get beyond the weak plot and lukewarm production if the
singing had been truly spectacular but, at least on this night, it simply was
not.
- Lui & Lei
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