Interludes

THE HANGOVER REPORT – The Met’s IOLANTA / BLUEBEARD’S CASTLE remains an unlikely but darkly glimmering operatic double bill

• By drediman
• February 6, 2019
• No Comments

Gerald Finley and Angela Denoke in Bartók’s “Bluebeard’s Castle” at the Metropolitan Opera. Photo by Marty Sohl.

This week, I caught the first revival of the fairytale double bill that is the Metropolitan Opera’s 2015 production of Iolanta / Bluebeard’s Castle. To say that it’s the ideal winter fare wouldn’t be an understatement. Mariusz Treliński’s production, an unlikely pairing of Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle, leaves a menacing, chilly residue that fits the weather outside. Taken together, Mr. Treliński’s dark but glittering vision – he’s set both stories in the same deep, dark forest (calling to mind the Sondheim favorite Into the Woods, both in setting and in themes) – is a fascinating meditation on darkness and light, as well as the very real terrors of the world.

Tchaikovsky’s rarely-performed Iolanta  commmenced the double bill and was, by a small margin, the better sung of the two. The production is led by the ideal pairing of soprano Sonya Yoncheva and tenor Matthew Polenzani, respectively playing the blind titular princess and the foreign prince who literally and figuratively brings light into her life. Ms. Yoncheva’s voice currently possesses a luxurous plush bloom, calling to mind fellow Russian soprano, superstar Anna Netrebko. She’s also a lovely, affecting and refreshingly unaffected actress. Mr. Polenzani’s instrument has developed to be sturdy and precise, lending a burnished hue (fitting for the production) to Tchaikovsky’s sparkling but little-known score. The focus of Mr. Treliński’s production, however, is terrific bass Vitalij Kowaljow, who sensitively plays the manipulative, conflicted King René, Iolanta’s father. The murky interpretation and portrayal of the character was the perfect segue into the evening’s treacherous second half.

Truth be told, of the two operas, I was most looking forward to Bartók’s pitch black Bluebeard’s Castle. Despite its mere hourlong running time, the work is as haunting as anything in the operatic repertoire. It tells the harrowing story of Bluebeard and his new wife Judith, who arrives for the first times at her husband’s castle. Little does she know, however, the horrors that await her in her new home’s various chambers. The revival is led by baritone Gerald Finley (Bluebeard) and soprano Angela Denoke (Judith). Although they are just a tad past their vocal prime at this point in their accomplished careers – they nonetheless handily met the requirements of the brooding, atmospheric score – both are superb actors. Indeed, their performances cast a sustained spell that left the Met audience in stunned silence at the end of the evening. Conductor Henrik Nánási conducted both works admirably, confidently navigating the mighty Met Orchestra through rather different scores. Additionally, the Met Chorus sounded as robust as ever in Iolanta’s rousing choral scenes.

HIGHLY RECOMMENDED

IOLANTA / BLUEBEARD’S CASTLE
Opera
The Metropolitan Opera
3 hours, 15 minutes (with one intermission)
In repertory through February 14