Opera Reviews
28 March 2024
Untitled Document

Conductor and orchestra are the icing on the cake in this Arabella revival



by Moore Parker
Strauss, R: Arabella
Vienna State Opera
14 December 2017

This was “men's night” at the opera, starting with the conductor Patrick Lange whose contribution to the evening perhaps received less acclaim than deserved at the curtain. Viewed from a box one level up from the stalls, activity in the pit was at times more compelling than on the stage, with the State Opera Orchestra sparkling in a compellingly analytical reading, while perfectly balancing the enormous forces to hand with the intimate demands of this so conversational piece.

The arguable pearl of the evening among the vocalists was Christopher Maltman (performing Mandryka for the first time in Vienna) in a meticulous interpretation full of nuance and distinct in diction - if nevertheless slightly tainted by an undeniable accent. His fruity baritone nicely spanned the role’s tricky demands, while serving a portrayal unusually unboorish and appealing - making this debut role an undoubted conquest.  

Another welcome role debut saw the return of septuagenarian Kurt Rydl - reminding one of his extraordinary legacy of vibrant interpretations in the house over the years. Rydl’s nonchalant Graf Waldner is superb, ideally captivating the Viennese psyche and patois in all respects, with his familiar rotund basso as imposing as ever. 

A further successful role debut was coined by Benjamin Bruns with his intensely focussed and vocally savvy Matteo.

Unfortunately the leading female protagonists were all frustratingly plagued by diction issues in varying degrees and forms - consequently impacting their interpretations, as one can imagine, considering the exceptional demands of the work.

Anna Gabler’s house debut saw a somewhat leaden and splayed-toned Arabella, lacking the ideal Straussian silver sheen many of his soprano roles beckon for. Furthermore, the character remained rather churlish and lacking in charm - and while winning some sympathy in the final scene, one was nevertheless left wondering at the curtain whether this was the ideal role for the German soprano’s Vienna debut.  

On paper Chen Reiss might appear an ideal Zdenka, and while the acclaimed ensemble soprano produced some fine moments, there is yet something of an ill-fit here - stylistically as well as in vocal demands - in a part that can be easily underestimated. 

Zoryana Kushpler brought much of the right vocal substance and attitude to her Adelaide - if only her lines were more comprehendible. 

Also somewhat disappointing was Maria Nazarova’s Fiakermilli. While pert and pretty, she too seemed ill at ease with the language and was vocally too vague and unpolished to make this a hit. 
The role is, in essence, a mini Zerbinetta demanding razor-edge accuracy as well as personality.

The supporting cast and their activities seemed somewhat pro forma on this occasion - placing this revival rather low in the scale of this on-going Strauss cycle.

In a consolation line in the 40’s film "Old Acquaintance," Bette Davis closes with the words ”There’s always what’s left of the icing” - 
and to our great fortune the inimitable State Opera Orchestra remains Vienna’s icing, as opera casts come and go. 

Text © Moore Parker
Photo © Wiener Staatsoper / Michael Pöhn
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