Arabella, Mar 10, 2008

Arabella

Peter McCallum, reviewer
March 10, 2008

A triumph of Viennese seduction.

Strength and warmth ... Peter Coleman-Wright and Cheryl Barker.
Photo: Marco Del Grande

Richard Strauss's Viennese comedy Arabella was first performed in 1933, the same year the new Nazi Government appointed him president of the Reichsmusikkammer (Reich Chamber of Music) without consulting him. It seems the perfect subject for the quip by the Viennese satirist Karl Kraus: "In Berlin the situation is serious but not yet desperate; in Vienna it is desperate but not yet serious."

Strauss had already perfected (in Der Rosenkavalier and elsewhere) the brilliantly volatile, energised style in which the music never stands still, like someone working the room at a rather hysterical party.

Richard Hickox and the Opera and Ballet Orchestra propelled this in Act I with a mix of flexibility and forward movement, and it was quickly clear that the whole package of this new production - cast, design (Robert Perdziola) and direction, both musical (Hickox) and theatrical (John Cox) - is a triumph of seduction, coaxing you to enjoy gorgeous sounds and images, even against your better judgment.

Wherefore this restless impulse to keep changing the musical subject? Theodor Adorno suggested Strauss embraced psychological flux because the system of musical keys (what we call tonality) had lost its power to shape musical form, but it is hard not to also see in the distinctive mix of satire and idealism of the librettist Hugo von Hofmannsthal a more psychological explanation, as theatrical archetype, stock-type and fairytale collide.

There is degeneracy and post-Freudian hysteria, represented in the emblematically dysfunctional aristocratic family in which the second daughter, Zdenka, is dressed as a boy to save money, and regeneration in the form of Goethe's redeeming pure woman, das Ewigweibliche, always on hand to mop up the mess men make.

Strauss, the master artificer, does not try to convince us he believes all this. It is an opera about the emotions people think they are supposed to feel when in love: for each facsimile of a noble feeling, Strauss provides a brilliant facsimile of noble music.

Cheryl Barker is superb in the title role, particularly in the third act when her voice had found its pitch focus and strength all wrapped in the warmth of colour. Emma Matthews (Zdenka) is a different vocal type, appealing for its clarity rather than reverberance. Although not a sound traditionally associated with the luxuriance of Strauss, the combination had its own charm in the Act I duet, like matching silk with velvet.

As redeeming women, both have their work cut out. Arabella gets a boorish jealous Croatian, Mandryka, whose redeeming feature is the capacity to look sheepish, and Peter Coleman-Wright had forceful focus, though the role does not emphasise the best parts of his range.

Zdenka gets a self-absorbed army officer who does not even notice when he is inadvertently making love to his beloved's sister: Richard Roberts was passionate in the first act. though after the suggestive Act III overture his voice showed signs of post-coital fatigue.

Conal Coad does a fine character role as Count Waldner, and Milijana Nikolic is strong as Countess Adelaide.

The unsuccessful suitors, Kanen Breen, David Thelander and Barry Ryan, made strong foils for Barker in Act II. Lorina Gore's Fiakermilli was agile but shrill, while Jacqueline Dark's fortune teller conjured apt colours at the opening.

Arabella, Mar 10, 2008 - AS

Written by Eliza Eggler

Monday, 10 March 2008

Arabella, the eponymous heroine of Richard Strauss’s comic opera is looking for love. She is a poor little rich girl seeking a ‘master’ to whom she will be ‘as obedient as a child’ and a firm believer in the notion of ‘Mr. Right’. Her parents alas have other plans for her, namely that she be sold to the highest bidder in order to rescue the families floundering fortunes by means of a profitable marriage. Count Waldner, Arabella’s gambling father who is responsible for their financial demise, sends a picture of Arabella to a decrepit old army friend in the hope of snaring a wealthy husband for his maiden daughter. Fortunately for our heroine the old goat has long gone and the picture ends up in the hands of his wealthy young nephew Mandryka. This ‘prince charming’ character, having been attacked by an over enthusiastic bear and unable to get out of bed for three months, spends the entire time dreaming about the girl in the picture before heading off to Vienna to claim her as his bride. Arabella is very much a story of fantasy versus reality and Opera Australia’s production of this lesser known Strauss masterpiece has done a good job at presenting these themes. Act one opens with Arabella’s mother (Milijana Nikolic) bemoaning the family’s imminent bankruptcy and Arabella’s sister Zdenka (Emma Mathews) who has been dressed as a boy since childhood to avoid the cost of two marriages, urging Arabella (Cheryl Barker) to accept Matteo (Richard Roberts), a young officer, in marriage. All of the singing in these opening scenes is extremely good, as is the acting which brings out the humour of the plot. Miss Barker is a confident and poised Arabella and sings with a beautiful warm voice and wonderful legato line. She is easily heard above the orchestra thanks to sensitive leadership from conductor Richard Hickox and her intonation and diction are outstanding. Emma Matthews, who is a very good actress, sings with her usual creamy tone and is thoroughly convincing in this pants role; if it weren’t for the beautiful soprano voice you could be forgiven for thinking Zdenka is in fact male. Count Waldner (Conal Coad) portrays a humorous character who is more interested in gambling than most things in life and his solid bass voice and acting add to the overall success and humour of the first act. With the arrival of the handsome Mandryka (Peter Coleman-Wright), who comes to ask for Arabella’s hand in marriage, the audience has the pleasure of hearing a mighty and beautiful voice and it’s no wonder Arabella falls head over heels when they finally meet in the second act! Waldner consents immediately to the marriage and by accepting money from Mandryka makes the connection between matrimony and cash all too obvious. Act two sees the first meeting between Arabella and Mandryka at the Cabbies’ Ball and they fall instantly in love. Whilst the speed at which this happens is troubling, the wonderful music and singing more than make up for problems inherent in the plot. The stage design is simple and attractive and the small chorus comes and goes without detracting from the focus of the action. The duet between Mandryka and Arabella with its soaring lyrical themes and luscious harmonies is a highlight of the opera; Arabella has found her life partner and Mandryka the great beauty he has fantasized about for months. From this point on however the fairy tale begins to unravel. Arabella takes leave of her other suitors who are now disappointed that she has chosen another man. Matteo is particularly stung and Zdenka, who is secretly in love with him, seizes the opportunity to have him for herself. She gives the heartbroken fool a letter, supposedly from Arabella but which she has in fact written, inviting him to her room and even providing him with the key (her key). Mandryka, who has witnessed all this and thinks Arabella is untrue, flies into a jealous rage and immediately starts flirting with Fiakermilli (Lorina Gore), the cabaret artiste from the ball. He then insults Arabella’s mother and the act draws to a troubling close. Miss Gore as Fiakermilli sings with commitment and precision and is a highlight of the second act. She has a clear light coloratura voice which cuts across the orchestra like a knife and her flirtatious acting is completely charming. Act three deals with Zdenka’s coming out as a woman and Mandryka and Arabella’s reconciliation. Matteo, who has made love to Zdenka thinking it was Arabella (that room must have been dark!) is shocked by Arabella’s sudden coldness towards him. He is also shocked when he discovers that he has in fact just slept with Zdenka whom he thought was Zdenko, his best friend, but gets over this in about two minutes and decides that he now wants to marry Zdenka and not Arabella! The confusion is great as is Mandryka’s refusal to believe that Arabella is innocent of betraying him. Once he realizes what a fool he has been he curses himself and his failure to trust Arabella. His great remorse is relieved however when Arabella forgives him and in agreeing to marry him fulfils the fairy tale hope of living ‘happily ever after’. The singing in this act is once again splendid as is the acting and the opera draws to a satisfying conclusion. Arabella sings some of the loveliest music in the final moments of the piece and Miss Barker’s wonderfully even voice and warmth of tone are really worth hearing. She sings ‘Take me as I am’, meaning take me as I am and not as you imagine me to be and not as you think I ought to be, and there is a relevant message for all of us in these words today. Although the plot of Arabella is convoluted and clichéd, Opera Australia has managed to create an attractive looking and successful production. The singing is consistently good throughout and the orchestra plays beautifully and without drowning out the singers. The acting is always believable and the singers, who are ideally suited to their roles both vocally and physically, portray believable characters. Whilst this production will not challenge you much, the quality of the music making definitely makes it worth a look.

Arabella , SOH, 7 March 2008

A rare and transcendent experience by Sarah Noble

R. Strauss: Arabella Opera Australia Sydney Opera House 7 March 2008

Arabella is the beloved daughter of the Waldners, an aristocratic family of rapidly diminishing means. Their survival depends on a good marriage for their daughter; Arabella has no shortage of suitors but steadfastly awaits "the right man". She finds him in Mandryka. But the Waldners have another daughter, Zdenka, who has been raised as a boy - bringing two daughters out in 19th century Viennese society would be far too expensive. Zdenka unrequitedly loves Arabella's most ardent admirer, Matteo, and forges letters to him from her sister which she passes on in her guise as "Zdenko", Arabella's sister and Matteo's confidant. Everything comes to a head at the Cabbies' Ball. Zdenka, taking her forgeries a step further, arranges a nocturnal liaison with Matteo, supposedly on her sister's behalf, but planning to be there herself instead. Mandryka overhears their conversation. Shattered, he misbehaves appallingly and nearly ruins everything - until a lengthy, confused confrontation in the hotel lobby eventually reveals all. Matteo conveniently transfers his affections to the newly female Zdenka and Arabella and her Mr. Right are at last betrothed. Strauss' opera intersperses hilarity with passages of real depth and emotional power, exploring both the comic possibilities of love and its complex, psychological side. Arabella is a fascinating, witty heroine, who laughingly flirts with her suitors without wavering in her determination to marry only for true love. The action hints at farce but never descends to it; Strauss' luscious, shimmering score paints true love in all its glory, and adds a touch of greatness to even the silliest moments. Opera Australia has done itself proud with this, its very first Arabella. John Cox's resplendently traditional production is a joy, presented with genuine insight and an eye for beauty. Behind the interior sets hovers a birds-eye diorama of Vienna, a quietly effective reminder of the larger world into which these individuals fit. His ball scene is a triumph of subtlety, merely hinting at the outskirts of a crowd rather than piling everybody in, as some directors might. Richard Hickox leads the orchestra in a beautifully shaped performance, sensitive but never subservient to the singers. Strauss' score offers many an opportunity for almost outrageous orchestral gorgeousness; Hickox grabs most of them, while steering admirably clear of total self-indulgence. Cheryl Barker is incandescent in the title role, a sweet, vivacious Arabella who sounds as heart-stoppingly exquisite as she looks. An actress of rare talent, she creates a three dimensional and immensely sympathetic character. Vocally the role fits her dark, lustrous tone and electrifying expressivity like an expensive silk glove. Having begun beautifully, her performance proceeds to gain in intensity as the performance proceeds, culminating in a climax and denouement of incredible impact. A true Sternstunde for a consistently excellent artist.

Singing Mandryka is Barker's real-life partner, baritone Peter Coleman-Wright. Unsurprisingly, the chemistry between the two is potent. When, in the duet "Und du wirst mein Gebieter sein", they pledge themselves to one another, the electricity is palpable. Indeed, it's hard to know whether to watch, amazed, or turn aside and give them their privacy. Coleman-Wright's Mandryka is a genial and appealing creation; what his voice lacks in outright splendour he makes up for in elegant phrasing and smooth, Straussian legato. Emma Matthews' success as Zdenka is less complete. In Strauss' fast-paced recitatives she is in her element, bright-toned and bubbly. As her phrases grow longer and more lyrical, however, she flutters rather than soars; her quick vibrato and light tone, while basically appealing, don't quite do justice to all of Zdenka's music. Usually a pretty admirable actress, she falters in this quasi-pants role, squirming and posturing like Cherubino on a sugar rush; contrasted with the radiant stillness of Cheryl Barker's Arabella, her manner is all the more offputting. It is not until matters turn serious in the final act that her own usual poise and musical grace return. Richard Roberts is suitably lyrical and earnest as her Matteo, his clear and youthful tenor floating easily above the orchestra. Mezzo soprano Milijana Nikolic is wickedly wonderful as the extravagant Countess Waldner, her sonorous tone put to particularly good use. As her husband, Conal Coad is likewise in fine form, an endearingly mischievous compulsive gambler. Particularly impressive is Lorina Gore's star turn (and Opera Australia début) as Fiakermilli, tackling the role's fearsome coloratura with agility and impressive vocal clarity. Jacqueline Dark is an all-too-brief treat as a mercenary Fortune Teller. Only Kanen Breen is miscast, his unchanging brand of comedy, though suitable elsewhere, are trivial and irrelevant in Arabella and his voice is all but inaudible. Yet even a far greater misstep would have little impact on the overarching excellence of this Arabella. "How vain to separate the two. Words and music become as one, join together to form a new creation....Each art redeemed by the other!" So says the Countess Madeleine in the closing scene of another Strauss opera, his Capriccio. Asked to determine which is the most important aspect of opera, she cannot choose, she realises that there is no choice to be made - in its ideal form, opera combines the two to create something new and indivisible. With its new production of his elegant Viennese comedy Arabella, Opera Australia has achieved just this kind of alchemy. Very much more than the sum of its individually excellent parts, this Arabella is a rare and transcendent experience, not to be missed by those who have not seen it and unlikely to be forgotten by those who have.

Text © Sarah Noble Photos © Branco Gaica