Countess Mariza Volksoper Vienna
Jan 30th 2020
I DID enjoy this performance. The quality and style of the singers I thought was excellent – although not being an expert in operetta style singing I would defer to different judgements by those more expert than I (you know who you are!) It struck me that they (and supported by the conductor and orchestra) managed to strike the balance between real feeling and effective style. I have sometimes been to operetta performances where the style of singing seems almost too ‘intense’ as the singers try to ‘convey real emotion’ in a way that at times often seems at odds with the music but here style and content were in perfect accord – although if that is going to happen anywhere then it surely MUST (should?) happen at the Volksoper. And there was real feeling and emotion in the story and performances. Again, I think there can sometimes be the (slightly snobbish?) assumption that everything is lighter/always fun/nor]t serious in operetta which is very far from the truth I think.
The production was traditional and the 20’s setting (which I initially thought was something of a slight update) was apparently accurate. It was gorgeous to look at, with lovely use of whites and creams to give an elegantly sophisticated look to the Countess’s estate. However, I did feel that the choreography of the dancers (excellent though they were although perhaps not quite as good as those at Hungarian State Opera!) was sometimes e.g. on their first appearance, too modern with sharp-edged moves and poses that seemed pretty Bob Fosse-like and were slightly at odds with the scenario. I do not know whether there have been productions where the choreography is much more gypsy-style orientated. Anyone experienced this? Does it work?
I was not sure about the use of the elderly man and the little girl as viewers of the action at the start and periodically through the performance. It was unclear who they were meant to be and I am not sure that anything was gained by using them.
The nostalgia for the past which is such a central characteristic of so many operettas of this time and before, was beautifully dealt with as I was much more aware of it and this constant pull back to the past than previously. I am sure that this as a major theme has been much written about but I would be very interested to know of any books/articles that deal with this idea.
As indicated before the singers were very fine and the tenor warmed up very well as the performance progressed so that by the end there was an almost Tauber-like golden glow to his voice – which of course made the story that much more powerful and emotional. As another theme I think that an exploration of the importance of vocal beauty and its relationship to dramatic effect would be an interesting area for study – sure there is a thesis waiting to happen (if it has not happened already) in this idea! And of course the idea of gypsies. Strange how romantically they are regarded/treated in operetta and what public attitudes to them are nowadays, certainly here in Budapest.
Anyway, great evening – and super seat downstairs.