Reimann: Medea

I cannot really stomach 12 tone music or Eurotrash productions. However, there are two operas by Aribert Reimann in my DVD collection. Spectacular productions and a dramatic idiom firmly anchored in 12 tone and corresponding perfectly to the ferocity of the primal passions contained in each work. “Medea”, as we all know, was a role owned by Maria Callas both as a singer and as an actress. For this particular version, though, one needs Marlis Petersen [soprano, Germany], whose stunning vocal technique and acting chops carry the piece from beginning to end. Michela Selinger [mezzo, Austria] as Creusa and Elizabeth Kulman [mezzo/contralto, Austria] as Gora, Medea’s companion, complete the female trio of principals. The males also conform a triad: Michael Rolder [tenor, Austria] as Creon; a stunning Adrian Eröd, [baritone, Hungary] as Jason; and Max Emanuel Cendic, [countertenor, Serbia], making his debut in the house, all equally excellent vocally and dramatically. Michael Boder conducts the Vienna State Opera Orchestra. The superb production was directed by Marco Arturo Marelli.

A very interesting example o modern music. But as is the rule today badly staged and direct. I hope we shall have in DVD soon LEAR, perhaps the best oper of Reimann.

I am very impressed with this new opera. You soon get used to the music and it is very appropriate for the story which is not based on Euripides' Medea but on a libretto called "The Golden Fleece" by Grillparzer. Nevertheless, it shares the essential elements of Euripides. This opera is riveting in every way, giving the singers an opportunity to show all their feelings which they skillfully do. Even the set, though sparse, is interesting. Part of it features a rocky hillside which, as things get more "rocky" in the story, begins to avalanche slowly. The sound of the rocks falling becomes part of the music. It is an extremely intense experience and never boring. Marlis Petersen is a beautiful and sympathetic Medea singing what eventually feels like strangely beautiful music. I'm very happy to own this DVD.

super

I purchased this DVD of Reimann's Medea because of my enthusiasm for Reimann's Lear, one of my top ten operas. Verdi wanted to write an opera based on Shakespeare's King Lear, but had a sense of his inability to capture the essence of the play. It took some decades and German expressionism -- and Aribert Reimann -- to solve the operatic problems of the play.The story of Medea would seem to be another match for Reimann. It is necessary, by the way, to do a little research beforehand to catch the subtleties in the libretto, as there are many versions of just what happened in Cochis with the fleece, the deaths of Pelias and Medea's brother, and Jason's relationship with Medea (and the number of their children!)I've read the seven excellent reviews that exist right now for this production, as I don't wish to duplicate any of their very helpful comments.Direction: the directors do not put their egos above the libretto and the music. This is extremely helpful, and not the current practice. In other words, this is definitely not a Eurotrash production.Costuming: as implied in the Coulardeau review, comments emphatically on the two cultural factions. Jason changes before us in the start of the opera, from tan clothing to a white shirt, tie and jacket, before he asks Creon to accept him. After acceptance, his trousers are white, too. The children accept the new white clothes, new identity, easily. Medea at one point attempts a white coat -- and simply cannot make the change. The Greek clothing is sophisticated, cool (Creusa as Ivanka?) and elegant. Costumes for Medea and maidservant are colorful and flamboyant.Lighting: as with the costuming very simple and evocative.Set: efficient, evocative and unobtrusive. (No '60s chevrolet, no motorcycle, no bathtub.)Orchestra: remarkable.Orchestral score: I see this as a substitute for the operatic chorus, commenting constantly in this case, grumbling, cheering, sneering; caged animals responding to the emotional temperature of the scenes.Singers: performances superb, Petersen's energy expenditure beyond belief. Buy this DVD for the singers' performances alone.Vocal score: the reason I did not give this DVD five stars. The Coulardeau review states, "singing with vocalises that end up in thin air over and over again". Exactly. Over and over and over. One hour and fifty minutes of Fiakermilli. The only vocal line that is different in any way from the others is that of Creusa. Is this deliberate on Reimann's part? With the very slightest tinkering by another composer, Richard Strauss, perhaps, were he alive, much of the vocalizing in this opera would seem Baroque or Classical or Straussian. The intense screaming, however, especially of Medea's writing, makes this opera too difficult for me to take aurally. I watched the DVD three times in a row, the second time to concentrate on the orchestral score (it's endlessly fascinating), the third time to pick up on any details I missed in the libretto. I'm not sure if I will listen to this again: no matter how excellent the singers are, the vocal scoring is tedious, not differentiated enough and relentlessly high pitched.

Opera di neo-avanguardia colta, decisamente interessante per il particolare impiego della vocalità, da parte di un compositore riconosciuto e di solidissimo mestiere benché poco noto in Italia

Das Auftragswerk der Wiener Staatsoper für Aribert Reimann ist hier in einer phänomenalen Ur- Aufführung dokumentiert.Das Bühnenbild und die Inszenierung von Marc-Arturo Marelli mit den Kostümen von Dagmar Niefind führen in eine Landschaft des Archaischen und der Moderne. In Medea wird der Archetypus von zeitloser Gültigkeit inszeniert, indem hier eine Durchmischung von Zeitaltern Platz greift. Griechenland und Kolchis sind kostümoptisch getrennt. Das Bühnenbild spricht eine beredte Sprache, wird förmlich zum atmosphärischen Instrumentarium, zur Plattform der bedrückend hautnahen Interaktionen von beklemmender, neuzeitlicher Aktualität.Aribert Reimann hat die Schlüsselrollen den hier agierenden Singdarstellern regelrecht auf den Leib geschrieben, denn die Besetzung stand fest und Reimann konnte entprechend mit den Darstellern im Schaffensprozeß kommunizieren und arbeiten. Insofern etwas, was in früheren Zeiten auch oft der Fall war, daß der Komponist die Sänger vor Augen hatte, für die er die Tessitura einer Rolle anlegte.Ganz herausragend auch die sängerische und schauspielerische Leistung der gesamten Besetzung.Reimann`s "Klangteppich"- Musik, die nicht melodiöser Schönklang ist, sondern atmosphärisches Ausleuchten, ist für sehr viele schwer zu hören. Man muß sich regelrecht hineinarbeiten.Auf diesem Klangteppich bietet Marlis Petersen eine absolut phänomenale Leistung in ihrer hautnahen, authentischen Verkörperung der Medea. Ich habe die Sängerin live gehört, als sie in Düsseldorf, noch am Anfang ihrer Weltkarriere, eine begeisternde Ophelie in Hamlet von Ambrois Thomas sang, sie geradezu orkanartige Beifallstürme entfachte. Sie gehört zu den ganz wenigen Interpreten, die eine Verkörperung von Rollen erreichen, die noch wesentlich über guten schauspielerischen Leistungen liegen, weil sie eine schon oft beklemmende, identifikatorische Verschmelzung mit der Rolle auf die Bühne stellen.Ebenfalls glänzend die Gora von Elisabeth Kulman mit markantem Mezzo und der Herold des Counters Max Emanuel Cencic, dem hier eine Glanzleistung gelingt.Sehr gut Adrian Eröd als Jason und Michael Röder als Kreon. Auch die "Gegenspielerin" Medeas, die Kreusa, wird von Michaela Selinger hervorragend gesungen.Michael Broder dirigiert sehr überzeugend, hält die brodelnde Innenspannung dieser "Klangteppich-Musik."Insgesamt ist diese Aufführung ein absolutes Highlight des Musiktheaters, das aber leider zu vielen verschlossen bleiben wird, weil sie dieser Musik nichts abgewinnen können. Ich kann nicht verleugnen, daß ich mich ebenfalls hineinarbeiten mußte, aber diese Aufführung ist es wert.

It helps to know the Medea story before starting to watch this DVD. Medea has lost her husband and children and been banished from the city state. She wants revenge.Picture quality 5Sound quality 5Sets 5 - A single set featuring a rock filled barren landscape. The city is represented by a oblong room suspended from the roof. The overall impression is of a wasteland.Storytelling 3 - could be confusing if you do not know the Medea story.Music 4 - Influenced by Richard Strauss (Elektra and Salome) and the 2nd Viennese school.Music making (orchestra) 5Acting 5 - Intense '2nd Viennese school of acting'.Direction (camera work) 5Singing 4 - Medea 5, Kreusa 4, Gora 5, Kreon 4, Jason 4, Herold 4. In the sprechspiel style.Costumes 5 - White 20th century type clothing for the city dwellers. Ethnic/peasant type clothing for Medea and Gora.Highly recommended if you like modern operas such as Elektra, Salome, Wozzeck and Lulu.

Une œuvre passionnante et passionnée. Avec la tension d'un opéra tel qu'Elektra mais qui évite néanmoins toute violence insupportable au profit d'une réflexion plus profonde. La mise en scène est en parfait accord avec l'opéra. L'intervention du héraut est une grande réussite.

The music is in the twelve tone scale, it is descriptive and of course devoid of arias. The style is conversational.The basic set is a rocky wilderness.The costumes are from some undefined period with long dresses for the ladies but modern casual clothes for the males but .the first man does carry a modern briefcase.When Xreusa appears she wears a modern long dress and coat.Beside the rocky set is a a high level room with a ladder access which descends at the end of act one.The rocky slope is quite fascinating as the rocks and pebbles have a life of their own rolling down from time to time.Maris Peterson gives a remarkable dramatic performance as Medea with able support from the other lead artistes.tThe dearths of Kreusa and the children are off stage, perhaps mercifully.The final scene is the distraught JasonNot a n opera which I shall play too often