Opera Reviews
29 March 2024
Untitled Document

A cinematic tale with a difference



by Craig A.P. Hamilton
Haydn: Orlando Paladino
Munich Opera Festival
23 July 2018

It is a pity that Haydn’s operas are not more widely performed, so it is a rare treat when they are. The Munich Opera Festival’s second premier this year is his heroic comic opera drama Orlando Paladino with a plot that is complex and takes repeated readings to grasp. 

Considering theatre, opera and cinema all try to create their own uniqueness, it is perhaps understandable that the director, Berlin actor and cinematographer Axel Ranisch, would try to combine all three in this production. A challenging undertaking indeed! 

Musically it was a triumph. On this occasion Ivor Bolton led the Munich Chamber Orchestra in a highly energetic, sensitive and attuned rendition of the work, which was entirely in keeping with Harnoncourt calling for musicians to hear and perform pieces “as if they had never been formed or distorted.”

Of particular mention among the cast of singers were exemplary performances by Adela Zaharia (Angelica) who has a powerful, flexible coloratura; French baritone Edwin Crossley-Mercer (Rodomonte); an emotionally passionate performance by Mathias Vidal (Orlando); Elena Sancho Pereg (Eurilla) whose sound I found small but only because of the open top part of the set within which sound evaporated.

Ranisch’s comic cinematic introduction was an inspired touch depicting the fragile relationship of the theatre owner (actress Gabi Herz) and the homo erotic attractions of the projectionist (actor Heiko Pinkowski) - which was later expanded on in a film sketch between the projectionist, Rodomonte and Orlando - all of which is arguably open to debate as regards whether it is funny, appropriate or indeed relevant. The other sketches were a 1920’s silent film depiction of over the top expressions with touches of slapstick, Fawlty Towers, Monty Python and Laurel and Hardy. On a positive note it did make light while at the same time dumb down the complex plot. 

The goings-on in the Rex Kino dilapidated cinema left much to the imagination: Rodomonte further dismantling the wooden seats in a fury; Orlando swirling around kicking and smashing the ticket counter accessories and kiosk items which was further reinforced by the popcorn machine bursting sending popped corn into the air; and the dead horse that seemed to be more of a convenient prop for the artists to sit or lean on. The Vultures in an impressive choreographed display of movement accompanying both Tara Erraught (wicked witch Alcina) and  François Lis (Caronte) were a delight to experience. 

We were also benefactors of a disturbance within the audience of a continuous wave of people getting up and down, doors opening and closing, people entering and exiting, and mobile phones ringing that took so long to deal with that made me think it was meant to be part of the spectacle. There were numerous differing reasons given for the disruptions, however the official version behind the long overdue stopping of the performance was that medical attention needed to be sought for a patron.

For those interested in a mix of genres, mix of stimuli and continuous action this is a production to see. At the end there was a mixed response for the production team, but the singers and musicians were not left in any doubt where they stood. 

Text © Craig A.P. Hamilton
Photo © Wilfried Hösl
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