This is the much-anticipated jubilee production to celebrate the 150th anniversary of the Vienna State Opera (as a clearly conspicuous choice in additionally marking the centenary of the premiere of Die Frau ohne Schatten in this house on May 29, 1919) - and this evening brought a rare buzz of anticipation which filled both auditorium and the jam-packed orchestra pit in the minutes before the lights went down.

The work’s subject matter offers a plethora of options for a director’s creative imagination, and in this - his first State Opera project - Vincent Huguet points at his concept as a kind of kaleidoscope spanning the post-Great War social and cultural fallout, the option of human offspring representing a tangible shadow as an extension of the contemporaneous, together with the additional concept of current global risks heralding the very demise of mankind - all somehow packaged within the realm of a fairy tale involving two contrasting couples and their personal crises. No mean challenge, and one which - to some degree - was perhaps doomed to remain on the drawing board. 

The opening scene, in which the regal couple’s domicile is depicted as an elevated - almost cage-like - pavilion, isolated by a bascule bridge, is strikingly effective. Thereafter, the contrast into Barak’s world (with it’s bails waiting for colour, isolated beds for the barren couple, and small open pools for liquid dyes and to accommodate moments of magic in the action) is established within towering stone-like structures (sets, Aurélie Maestre) which, however, remain unrelentingly dominant - only to be augmented by a variety of video effects, and minor structural changes to facilitate vertical activity as required for Act 3.   

While the overall concept may have its limitations, the cast generally enjoyed well-defined and intense direction - and featured all three female leads testing the mettle in their respective parts for the first time here in this production. In all cases, the demands are daunting, but each contender rose with equanimity to the challenge.

Nina Stemme is, in many respects, a born Färberin - compelling empathy in a powerfully expressive physical and vocal rendition of a stature which arguably eclipses her lofty string of achievements in this house to date. 

Hardly leaner in impact, Evelyn Herlitzius’ commanding Amme - controlling the reins throughout, and combining searing dramatic focus with a rich palette of vocal colour.

Radiant and imperially-stylish as the Kaiserin, Camilla Nylund brings ideal physical attributes and a malleable, soft-grained, soprano which rides Strauss’ gruelling tessitura with relative ease (albeit a notch modestly in dimension) while superbly complimenting her two aforementioned colleagues.  

Somewhat less impressive in definition, Wolfgang Koch’s Barak and Stephen Gould’s Kaiser - the former rather paling alongside his vibrantly-hued spouse both in character and tone, and the latter - while undauntingly mastering the composer’s testing lines - nevertheless, a touch bland in effect.

The supporting cast was impressive, with Maria Nazarova standing out as both the Stimme des Falken and Hüter der Schwelle des Tempels, and with particularly strong performances by Sebastian Holecek (Geisterbote), and Moncia Bohinec (Stimme von oben), as well as the characterful trio (Der Einäugige, Der Einarmige, Der Bucklige) taken by Samuel Hasselhorn, Ryan Speedo Green, and Thomas Ebenstein. 

Despite a cast that ranks in the upper echelons of today’s potential, the laurels ultimately went to The Vienna State Opera Orchestra under Christian Thielemann (in his 4th production of the work, and conducting Strauss’ uncut score) in a reading which combined an ideal fusion of intricate detail with the breadth to interlink and span the vast arches of the work - albeit with a possible emphasis on intimate intensity as opposed to the grandeur of some interpreters. The conductor’s solicitous attention to the stage, underscored by an undeniable rapport with his 120 member band, made for a music event of true jubilee dimensions.