May 12, 2008
Soundings: 'Maid of Orleans' powerful, memorable
Evidence of the power of a strong director's hand and an innovative concept was readily found in the Washington National Opera's production of the rarely seen or heard "Maid of Orleans." Probably one of the main reasons for its lack of awareness is due the fact that it's essentially a static work. While dealing with Joan of Arc, it is a piece that pulses emotionally but not necessarily physically.
Thus, like many such works, it is a stand and stare work. The odd thing is that Wagner often falls into that category yet those works are popular and well known. "Maid" has an incredibly powerful and exciting score by Tchaikovsky, yet it hasn't managed to make it to mainstay familiarity. Nonetheless, static is static and that can make for a long evening.
However, in the case of the National Opera's "Maid," there were several things going for it that propelled it to lasting memory. The most impressive element was the singer singing Joan-the legendary and fabulous Mirella Freni, now celebrating the 50th anniversary of her professional debut in Italy. The 70-year-old Freni was simply stunning in this production, her soprano sound still strong, still pitch perfect, still capable of relaying layers of emotion, drama, and passion. For close to four hours, Freni inhabited the soul and spirit of Joan, physically and emotionally delivering a youthful characterization that should be the envy of any singer-actor. One cannot heap enough praise on this legend of legends. Freni was singularly spectacular in this custom designed production. In fact, the original team that brought "Maid" to the Theatro Regio di Torino stage was on hand for this National Opera production. It was an affair to remember.
Luisa Spinatelli's design was brilliant. Constantly moving panels or scrims opened and shut on vistas or projections, providing a sense of action or layers of action. By far the most intriguing aspect was the use of colored veils or sheer curtains suspended from the stage proscenium that were coded to states of emotion. They became surfaces on which to project images layered over images or provide emotional barriers of separation. When each veil was released from the ceiling and billowed to the floor, the veils took on roles of participants in the action. The images created were stunning. So stunning that one hardly risked taking attention away from the action to watch the supertitles of the Russian lyrics.
Director Lamberto Puggelli's stage direction, in working with the designer, was brilliant. Everything was calculated for visual impact, making this on the surface static opera one of sustained interest and genuine thrills. Certainly adding to the artistic success was Joan Sullivan-Genthe's dramatic lighting.
While all the fuss was about Freni, superb performances were also turned in by Russian baritone Sergei Leiferkus as Lionel, Joan's love interest; baritone Evgeny Nikitin as Joan's father, Thibaut d'Arc; Ukranian tenor Viktor Lutsiuk as King Charles VII; Maira Kerey as Agnes, lover of Charles; and Feodor Kuznetzov as the archbishop.
Conductor Stefano Ranzani, a member of the original team, conducted with insight and commitment to making certain things between the pit and the stage were tightly coordinated. The score to "Maid" contains many orchestral moments that somewhat string together the action. The score is reminiscent of pieces and parts of all your favorite Tchaikovsky works. Despite its French subject, the score is all Russian power and passion. To this terrific score the National Opera orchestra brought musical magic. In combination with superb singing and still vibrant-in-memory staging, this "Maid" was made of solid gold. It was memorable in every possible way.
Copyright © 2008, The Virginia Gazette
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