Love knows no boundaries, no religion, no social hierarchies. This was also the case in 12th-century Spain when Rahel, a beautiful young woman, daughter of an influential banker, climbs over the enclosure walls into a private royal garden with her sister, Esther. There, she meets a man who immediately falls in love with her fresh, cheeky manner. The problem is that he is King Alfonso VIII of Castile – married, Catholic – and she is Jewish. Love wins out, the king neglects his duties for seven long months, his queen (Eleanore) incites the court council against him and ultimately forces his signature on two documents – the young woman's death sentence, as an alleged spy for the Moors, and a declaration of war against the Moors.
Detlev Glanert's five-act opera Die Jüdin von Toledo was commissioned by the Semperoper Dresden, where the world premiere took place on Saturday. Hans-Ulrich Treichel drew on Franz Grillparzer's 1851 play for his libretto. Glanert composes music that is clearly narrative, capturing the scenes impressively, emphasising vocal personalities and giving the language space to unfold. The Staatskapelle Dresden performed this impressive wealth of sound under the impeccable direction of Jonathan Darlington. The interludes impressed with their gripping presence, while the seamless integration of instrumental sounds with vocal parts created perfect harmony. The inclusion of the oud, an Arabic lute, makes the love scenes between Rahel and Alfonso even more tender and, as a contrast to the brassy music of the Christian court council, dramaturgically striking.
Director Robert Carsen and designer Luis F Carvalho create a stringent, minimalist concept. The simple and elegant suits of the men and the authentic looking soldiers' uniforms indicate that the story takes place in the here and now. Everything is black or monochrome grey. Interior and exterior spaces are indicated by architecturally stylised arches. Even the country castle, where the lovers retreat, is sparse with only a few lamps with red candles to add a touch of romance. It is easy to understand that the historically strict Spanish court protocol is followed here. The raison d'état rules here; there is no room for human emotions.
Carsen stages the storyline in a straightforward manner, thankfully avoiding embellishments and diversions. His aim is not only to appeal to the audience but also to touch and captivate them emotionally by reinterpreting tried and tested elements with confident handling. This is not the first time that Carsen and Glanert have worked together successfully and it shows – there is a strong understanding and empathy from which this new opera profits. One of his strongest scenes comes after Eleanore signs the declaration of war – a kind of auto-da-fé, where weapons are blessed by a priest, troops march off and are all killed while videos of war are projected in the background. An association with current world conflicts is inevitable. This love story, which juxtaposes the three great world religions, has lost none of its explosive power since the 12th century.
At the premiere, the production was supported by an outstanding ensemble of singers. Heidi Stober, with her youthful soprano timbre, embodied Rahel, a somewhat spoiled brat who knows what she wants and how to get it. The fact that these desires are misinterpreted and she meets her end as a supposed spy is just as much a part of the role as her lively carefree attitude is convincing. Alongside her, Lilly Jørstad, as Esther, appeared to be the epitome of reason with her soft mezzo. Baritone Christoph Pohl impressed with his nuanced portrayal, playing the weak Alfonso, who is in thrall to Rahel, so credibly that Tanja Ariane Baumgartner's powerful mezzo seems completely comprehensible in her portrayal of the power-conscious, and ultimately victorious, Queen Eleonore. The state councillor Manrique, Count of Lara, was portrayed with conviction by bass-baritone Markus Marquardt. His son and adversary Garceran was sung well by Aaron Pegram, but as a character, he remains pale.
I hope that Glanert's opera will find its way into the regular operatic repertoire.
