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Czech Mating London Sadler's Wells 12/10/1998 - Bedrich Smetana The Bartered Bride Soile Isokoski (Marenka), Jorma Silvasti (Jenik), Franz Hawlata
(Kecal), Gwynne Howell (Krusina), Heather Begg (Ludmilla), Ian Bostridge
(Vasek), Robert Tear (Ringmaster), Roberto Salvatori (Indian), Colette
Delahunt (Esmeralda), Anne Howells (Hata), Jeremy White (Micha)
Royal Opera Chorus, Orchestra of the Royal Opera House
Bernard Haitink (conductor), Francesca Zambello (director) The Royal Opera's production of The Bartered Bride seems to be
aimed, like last year's execrable Merry Widow, at the holiday
market. A pleasant romantic comic opera with dances that go on for far too
long, it's certainly lightweight fare for the Royal Opera. Fortunately,
this production has more in common with Paul Bunyan, last year's
surprise success. Francesca Zambello's elegantly minimal production leaves
room for the simple humour and emotions. Bernard Haitink and the Royal
Opera orchestra deliver the music in lapidary detail, playing energetically
but without a trace of oompah or stomp.
The work itself isn't nearly as interesting as Paul Bunyan, but in
its final version it's a well made music drama with semi-ethnic set-piece
interludes. There's little suspense, but a lot of amusing or sentimental
numbers. Because of a contract her father Krusina has signed Marenka is
bound to marry "the son of Tobias Micha", and the marriage-broker Kecal is
trying to get the contract signed between her and gormless Vasek. But she's
in love with Janik. Early in the opera, however, we hear that Micha has a
missing son called Janik. The action consists of Kacel's efforts to
persuade Janik to give up Marenka by paying him, and Marenka's trick to
shake off Vasek by defaming herself. Janek takes the money on the condition
that Marenka marries only "the son of Tobias Micha", and after she's sulked
for a bit because he's given her up for money, his father recognizes him
and the lovers marry. Vasek joins the circus, wears a bear suit and marries
Esmeralda the high-wire artiste instead. Kacel is chased out of town.
The total effect is similar to non-subversive Gilbert and Sullivan, but
Zambello characteristically avoided any suspicion of camp or satire. The
set consists of stripped pine walls and floor, set up with a sort of house
raising during the initial communitarian chorus. There are a few naïve
props, such as a cutout river and some cabbage, and some basic furniture,
tables and chairs. The costumes are yellow and green "traditional" Bohemian
(close enough for operetta). The romance plot is played straight, and
focusses on the sentimental moments -- Janik's lament for the loss of his
mother, whose love Marenka replaces, Marenka's lament for Janik's apparent
mercenary betrayal -- and the clever, Sullivanesque ensembles. The dances
and choruses, and the circus, are done as spectacles, with no pretensions
to relevance.
The cast is outstanding, which makes it worthwhile letting them sing the
music in an uncomplicated narrative frame. Soile Isokoski is a chunky,
expressive Marenka, remniscent in personal style of Imelda Staunton,
remniscent in personal style of Imelda Staunton, tough but confused. It was
possible to believe that she does not take the "trust me, I can explain"
line from common sense rather than petulance. Jorma Silvasti is a shiny
blond Janik with a lustrous voice, just right for this sort of music. Franz
Hawlata as Kacel was luxury casting. He has a great dark brown tone and
looks much older than he is in character as a stereotype grasping
comic-opera villain. Ian Bostridge got the gaucheness of the music (with
built-in stammers) as Vasek, but didn't really make him ridiculous
dramatically. This was even more luxurious casting. Gwynne Howell and
Heather Begg were sympathetic as Krusina and Ludmilla.
The chorus, representing the community into which the married lovers will
be reabsorbed, was picture-book organized, and sang splendidly as usual.
The
children were incredibly small and very jolly, not at all sickly. H.E. Elsom
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