While not quite(subjectively) among the greatest operas ever written, Antonin Dvorak's Rusalka is truly enchanting and in some ways sadly underrated. The music is stunning, very characteristic of his Slavonic dances and nationalistic folk tunes and at times like a symphony set to words. The story structurally may seem slight, then again fairy/folk tales often are, but atmospherically it sucks you right in and has a ethereally charming quality to it complete with an affecting ending. While there have been a few indifferent reviews for this production, from personal opinion it was wonderful, if not as intensely moving as Eugene Onegin, eye-poppingly unique as The Nose or entertaining as Falstaff(Tosca was a huge improvement over the production it was revived from but still had some bewildering moments).
Visually this Rusalka is a wonder. The rustic circular forest set surrounding the lake is really handsome and is slightly reminiscent of that used in Rideley Scott's Legend, while the costumes fit beautifully within the fairy-tale setting. Especially any of Rusalka's(the blue dress looking gorgeous on Fleming but most effective was the floating apparition-like one at the end) and the Water Gnome's. The lighting is painterly and as rustic as the sets, and is also well contrasted, the thunder and lightning effects synchronised perfectly with the music. The HD looks great as always. The photography is unobtrusive to the drama and has great clarity, it's not unforgiving to the singers either. It also has parts where it is allowed to shine, particularly in Act 3 where there is a long stretch of nothing happening and the moving camera taking a cinematic approach recalling the beginning of Disney's Bambi, just a dream to look at.
The complaints of the staging being too conservative are understandable, but I don't agree about it being unimaginative- apart from that of the Foreign Princess, quite static- and lacking in passion. It's relatively simple staging but not simplistic staging, that way the atmosphere comes through and it comes through so well it was like being part of a dream where you were saddened when it was over. As well as that there were a number of charming and poignant moments, and witty ones too. The wood nymphs scenes have the feeling of Slavic traditional folk dancing, and has a fresh cheekiness to it too. Song to the Moon sung from a tree came off beautifully and didn't interfere with the singing at all, while the animals played by children were really cute(especially liked the frog, while the fainting while sniffing the potion was a witty touch). The encounter of the Kitchen Boy and Game-Keeper with Jezhibaba was both funny and mysterious, and Rusalka as an apparition touched by moonlight was stunning to look at.
Musically, Rusalka is outstanding on all counts. The orchestra play with sprightliness and much depth, with the shimmering strings, biting and expressive woodwinds and blazing brass. Particularly good were the glorious harp solo(the solo and the playing, a solo just as beautiful as that in the Swan Lake Pas De Deux) in Song to Moon, the Act 2 dance and the horns. The conducting from Yannick Nézet-Séguin is accommodating in Song to the Moon and the Water Gnome's Act 2 aria(one that is deserving of more recognition than it gets, really it's the heart of the act) and also alert in the Czech dance-like rhythms, one of the highlights of the entire production almost certainly. The one false note was the rather too slow, draggy tempo in the final scene. The sound captures the singing very well too with the occasional fading out. Renee Fleming is exemplary in the title role, it shows why this role and Song to the Moon has been so closely associated with her. She has rarely looked more lovely, her voice is creamy and expressive with some earthiness at the bottom, her silky sense of line and painting of words are most envious and she has the right amount of poise and out-worldliness(doing remarkably with the biggest challenge of the role, in making the character still interesting despite the character being voiceless for most of Act 2).
Piotr Beczala is similarly splendid, his tone is clear, ringing and heroic-sounding with truly ravishing head-voice soft singing as the Prince dies(the only disappointment was the sharp, almost a crack, high C at the end) and while stand-and-deliver sometimes he does have telling eyes and does well conveying the Prince's coldness and passion in Act 2. Dolora Zajick has been better but makes for an impish and thrillingly formidable Jezhibaba, and despite sounding at times worn her voice still has those penetrating chest notes that are rivalled today only by Stephanie Blythe. John Relyea, unrecognisable amidst his incredible costume and acrylic make-up may be on the too lyric side vocally for the Water Gnome- he may be dis-trusting of humans but in a way he is the opera's most sympathetic character- but his voice is very attractive and booms out, and while with an imposing presence he is also playful in the first act and touching in his Act 2 aria.
The wood nymph trio are exceedingly charming and playful with voices that are chirpy and seductive, the Gate-Keeper is sung with sonority, the Kitchen Boy is likable enough also and Emily Magee sings with ease(though often at one volume which is loud, then again the Foreign Princess is not a role really that invites much subtlety and nuances) and is suitably mocking and scheming. The chorus are very good. Susan Graham's hosting is warm, interesting and sometimes very funny, have got to love "Dolora, you look beautiful" and Relyea's "I thought we would be sticking to primary colours". Overall, a wonderful production and while the eighth season has been very good so far while not the most moving or entertaining Rusalka was the most visually inviting and my personal favourite of the season too(though that may be an unpopular opinion). 9/10 Bethany Cox
Visually this Rusalka is a wonder. The rustic circular forest set surrounding the lake is really handsome and is slightly reminiscent of that used in Rideley Scott's Legend, while the costumes fit beautifully within the fairy-tale setting. Especially any of Rusalka's(the blue dress looking gorgeous on Fleming but most effective was the floating apparition-like one at the end) and the Water Gnome's. The lighting is painterly and as rustic as the sets, and is also well contrasted, the thunder and lightning effects synchronised perfectly with the music. The HD looks great as always. The photography is unobtrusive to the drama and has great clarity, it's not unforgiving to the singers either. It also has parts where it is allowed to shine, particularly in Act 3 where there is a long stretch of nothing happening and the moving camera taking a cinematic approach recalling the beginning of Disney's Bambi, just a dream to look at.
The complaints of the staging being too conservative are understandable, but I don't agree about it being unimaginative- apart from that of the Foreign Princess, quite static- and lacking in passion. It's relatively simple staging but not simplistic staging, that way the atmosphere comes through and it comes through so well it was like being part of a dream where you were saddened when it was over. As well as that there were a number of charming and poignant moments, and witty ones too. The wood nymphs scenes have the feeling of Slavic traditional folk dancing, and has a fresh cheekiness to it too. Song to the Moon sung from a tree came off beautifully and didn't interfere with the singing at all, while the animals played by children were really cute(especially liked the frog, while the fainting while sniffing the potion was a witty touch). The encounter of the Kitchen Boy and Game-Keeper with Jezhibaba was both funny and mysterious, and Rusalka as an apparition touched by moonlight was stunning to look at.
Musically, Rusalka is outstanding on all counts. The orchestra play with sprightliness and much depth, with the shimmering strings, biting and expressive woodwinds and blazing brass. Particularly good were the glorious harp solo(the solo and the playing, a solo just as beautiful as that in the Swan Lake Pas De Deux) in Song to Moon, the Act 2 dance and the horns. The conducting from Yannick Nézet-Séguin is accommodating in Song to the Moon and the Water Gnome's Act 2 aria(one that is deserving of more recognition than it gets, really it's the heart of the act) and also alert in the Czech dance-like rhythms, one of the highlights of the entire production almost certainly. The one false note was the rather too slow, draggy tempo in the final scene. The sound captures the singing very well too with the occasional fading out. Renee Fleming is exemplary in the title role, it shows why this role and Song to the Moon has been so closely associated with her. She has rarely looked more lovely, her voice is creamy and expressive with some earthiness at the bottom, her silky sense of line and painting of words are most envious and she has the right amount of poise and out-worldliness(doing remarkably with the biggest challenge of the role, in making the character still interesting despite the character being voiceless for most of Act 2).
Piotr Beczala is similarly splendid, his tone is clear, ringing and heroic-sounding with truly ravishing head-voice soft singing as the Prince dies(the only disappointment was the sharp, almost a crack, high C at the end) and while stand-and-deliver sometimes he does have telling eyes and does well conveying the Prince's coldness and passion in Act 2. Dolora Zajick has been better but makes for an impish and thrillingly formidable Jezhibaba, and despite sounding at times worn her voice still has those penetrating chest notes that are rivalled today only by Stephanie Blythe. John Relyea, unrecognisable amidst his incredible costume and acrylic make-up may be on the too lyric side vocally for the Water Gnome- he may be dis-trusting of humans but in a way he is the opera's most sympathetic character- but his voice is very attractive and booms out, and while with an imposing presence he is also playful in the first act and touching in his Act 2 aria.
The wood nymph trio are exceedingly charming and playful with voices that are chirpy and seductive, the Gate-Keeper is sung with sonority, the Kitchen Boy is likable enough also and Emily Magee sings with ease(though often at one volume which is loud, then again the Foreign Princess is not a role really that invites much subtlety and nuances) and is suitably mocking and scheming. The chorus are very good. Susan Graham's hosting is warm, interesting and sometimes very funny, have got to love "Dolora, you look beautiful" and Relyea's "I thought we would be sticking to primary colours". Overall, a wonderful production and while the eighth season has been very good so far while not the most moving or entertaining Rusalka was the most visually inviting and my personal favourite of the season too(though that may be an unpopular opinion). 9/10 Bethany Cox
