5 von 5
Owl
17. Mai 2016
Gesamteindruck:
5,0 von 5
Künstlerische Qualität:
5,0 von 5
Repertoirewert:
5,0 von 5
A wonderful return
'Le Prophète' was once one of the most famous of operas, performed over 500 times at the Paris Opera, and given throughout the civilized world, in the days when opera was everpresent in society. The problem is always the inevitable comparison with Wagner (usually) and Verdi (less often). Both these composers have their success and following, but they have nothing whatsoever to do with Meyerbeer, who was a generation older than both of them, and worked in very different circumstances.
The plot has been called absurd: but do people know the details of the history of the Anabaptists in Münster on which this opera is based? If they did, they would find history far stranger than fiction, and see in Scribe's libretto a modification of the garish facts in the interests of a highly symbolic scenario based on a tragic Reformation episode, and exploring the implication of the role of religion power and politics in the fate of humanity. Then there is the impact of the complex and subtle score. This is not 'La Traviata', but a dark and frightening look into the confusion, violence, and hatred that have shaped religion and politics. The relation between mother and son depicted in the opera is something unique and astonishingly interesting; the fate of the demented Berthe is deeply touching in its vulnerability and betrayal. The music, for those who have ears to hear, is powerful, gripping, and torrential in its flow, Each act is beautifully structured, each set piece crafted to perfection, those whole dominated by an overwhelming sound world of instrumental colours (mainly dark, using 4 bassoons and bass clarinet) and disturbing harmony. The ballet (often sneered at) plays a vital function as a countersign to the human deeds of darkness and despair that characterize the action, and distils a veritable poetry of winter! The Coronation Scene is fascinating, and overwhelming in its impact, one of opera's greatest scenes. The conductor takes things at a rather rushed tempi (see his earlier and much more measured and effective approach in the broadcast from Turin in 1970, available on Gala). But as far as the recording is concerned, the sound quality is astonishing in its clarity. Marilyn Horne is formidable as the mother: all her arias are magnificent in their magisterial interpretation of this challenging music, The tenor shows a mystical perception of his role, most appropriate, even if not always beautiful (for that you need the sublime Nicolai Gedda from Turin). Renata Scotto is the most disappointing, neither understanding nor capturing the vulnerability of the foiled heroine, and inclined to shriek in the higher registers. (Again see the sensitive portrayal of Margherita Rinaldi from 1970.) Nonetheless, this is a gripping interpretation of a a hugely interesting and demanding opera— indeed a neglected masterpiece.