Interludes

THE HANGOVER REPORT – The Met’s revival of THE QUEEN OF SPADES is chock full of notable house debuts (one that’s particularly exciting)

• By drediman
• November 30, 2019
• No Comments

Larissa Diadkova, Lise Davidsen, Yusif Eyvazov, and Igor Golovatenko in Tchaikovsky’s “The Queen of Spades” at the Metropolitan Opera. Photo by Ken Howard.

A star is born in Norwegian soprano Lise Davidsen, who made a glorious Metropolitan Opera debut last night in Tchaikovsky’s The Queen of Spades. That Tchaikovsky’s operatic psychological thriller is rarely performed is understandable (the opera was last seen at the Met in 2011, when the production currently on display was new). Its episodic plotting is unsteady and the music lacks the composer’s trademark sparkle, particularly of his more popular ballet scores. Nevertheless, the score is a notable achievement in sustained mood and psychological insights, and when it’s performed well – as it was last night – it casts a distinct, menacing spell.

Other than the chance to catch Tchaikovsky’s rarely-heard score, there’s little doubt that the main reason to see the production – which runs, in repertory, only until mid-December – is the chance to experience several major new (at least to New York opera-goers) operatic talents. The hype around Ms. Davidsen is warranted. Hers is an astonishing instrument, possessing beauty, power, and a rich fullness in all registers. She’s also a lovely, affecting stage presence, and I look forward to seeing her tackle a meatier role in the near future. The rest of the cast mostly lives up to her high standards. Tenor Yusif Eyvazov’s Hermann grew in stature as the evening progressed. Although his textured tenor sounded initially tight, it opened up appealingly in the second and third acts. Other noteworthy performances included veteran Larissa Diadkova’s commanding Countess and baritone Igor Golovatenko’s confident performance as Prince Yeletsky (another excellent Met debut).

Elijah Moshinsky’s pungent, color-drained production (set and costume designs are by Mark Thompson) effectively captures the murky mood set by Tchaikovsky’s score. By focusing on the opera’s psychological and fantastical elements (Paul Pyant’s lighting design is especially striking), Mr. Moshinsky’s picture-framed staging wisely basically bypasses the opera’s flimsy storytelling, treating the piece more as a tone poem than an opera. In the pit, conductor Vasily Petrenko – yet in another important house debut – drew a nuanced reading of the Tchaikovsky score. He strikes me as an ideal opera conductor, one who’s sensitive to the needs of the singers and the drama ensuing onstage.

RECOMMENDED

THE QUEEN OF SPADES
Opera
The Metropolitan Opera
3 hours, 30 minutes (with one intermission)
In repertory through December 21