Metropolitan Opera – Strauss’s Arabella. April 16, 2014.

Metropolitan Opera at Lincoln Center, Balcony (Seat C107, $102.50.)

Story.  Arabella and Zdenka are the daughters of Count and Countess Waldner, who have fallen on hard times.  Zdenka is brought up as a boy (named Zdenko) so the Waldners don’t have to incur the expenses of introducing two daughters into the Viennese society.  Arabella is courted by many people, including the young officer Matteo.  Zdenko acts as the go-between but falls in love with Matteo.  Meanwhile, the Count tries to contact his old rich friend Mandryka to see if he is interested in marrying Arabella.  Mandryka has died so his nephew and heir (with same name) shows up.  Arabella and Mandryka immediate fall in love and plans to get engaged.  To calm the agitated Matteo, Zdenka gives him the key next to Arabella’s room but Zdenka ends up spending the night with Matteo.  Thinking Arabella has betrayed him, Mandryka plans to leave the Waldners.  Zdenka appears in her nightgown and admits she is the one with Matteo.  The story ends with Arabella declaring her love for Mandryka by following the tradition of bringing him a glass of water.

Conductor – Philippe Auguin.  Arabella – Malin Bystrom, Zdenka – Juliane Banse, Mandryka – Michael Volle, Countess Waldner – Catherine Wyn-Rogers, Count Waldner – Martin Winkler, Matteo – Roberto Sacca.

I have found Strauss (Richard) generally difficult to understand.  There are usually some nice and memorable melodies in his compositions (tone poems, operas, what not), but the works as a whole usually elude me.  This is also true for this particular opera, but I ended up enjoying it quite a bit.

The story has many parallels to Der Rosenkavalier.   One aspect is this “tradition” of bringing a glass of water to one’s lover.  In Rosenkavalier the tradition is a silver rose.  We know the rose tradition is made up by Strauss, I wonder if the glass of water is made up also.  Regardless, the glass gives Arabella a dramatically satisfying ending.

There are many solos and a few duets in the opera, with most of them against a rich texture provided by the orchestra.  For a first time listener, the passages sound quite complicated and thus not quite accessible.  However, I can appreciate how well the artists delivered the numbers, and would probably enjoy them more on subsequent listens.  In general, the voices and the orchestra complemented each other quite well, even though the voices tend to be on the weak side.  The orchestra sound was lush and clear most of the time; however, there were occasional slips in its delivery.

For a while I thought it was I that kept thinking the voices didn’t project as well as they should.  Turns out my assessment wasn’t without merit.  Before Act III began there was an announcement that Sacca couldn’t continue and would be replaced by another singer (didn’t catch the replacement’s name.)  Matteo had less a role to play in the final Act, so it worked out okay.  This also got me to notice the active cuing done by the prompters.  I had never seen so many hand gestures from the prompters’ box before.

Most of the singers also acted their parts well.  Arabella carries herself with quiet dignity, Zdenka acts like the tom-boy she is supposed to be, and the Count and Countess are much more likeable than Faninal (in Der Rosenkavalier) even though they are in similarly dire straits.  I do have some issues with how Mandryka is portrayed.  While he is a self-deprecating “country bumpkin,” his rough edges often come across as crude.  His first appearance in a fur coat and high boots was a disappointment.  On the other hand, the performance will have a hard time qualifying as a comedy had it not been for his acting (or overacting.)

The sets are for 1860 Vienna.  They reflect the opulence of Viennese society at the time.  Actually, for someone strapped financially the Waldners live and dress well.  I consider myself a traditionalist when it comes to costumes and sets, so I appreciate what I see.  The sets do look a bit worn – they were first used in 1983.

The story has many parallels to Der Rosenkavalier.   One aspect is this “tradition” of bringing a glass of water to one’s lover.  In Rosenkavalier the tradition is a silver rose.  We know the rose tradition is made up by Strauss, I wonder if the glass of water is made up also.  Regardless, the glass gives Arabella a dramatically satisfying ending.

The scene where Arabella tells her suitors that they can only be friends reminds me of the very first opera I wrote a review for : Puccini's Fanciulla del West, specifically the scene where Minnie was asking for mercy from her friends one by one.  I remember that as being quite a bit more compelling.

The gentleman sitting next to me also attended this opera by himself – his wife was out of town.  In any case, we were lamenting the number of vacant seats tonight, and whether the Met has been successful in drawing in a younger crowd with its slew of new sets.  Tonight would be an argument to go with the new.

My neighbor thought this was a great opera, I have to go with “it’s okay.”  Considering this opera premiered in 1933, that was high praise.

The New York Times reviewer loves Volle as Mandryko, calling him the only one with the elemental energies as an actor.  Evidently the Met is bringing Volle back as Wotan for their next Ring.  The review also complains of the lack of personality in Bystrom’s Araella.  Well, Bystrom is Swedish; my one trip in Sweden left me with the impression the Swedes are one of the most reserved people (at least in public.)  It should be noted Banse is also Swedish, so much for type-casting.  If I were to summarize the Times review, it would be “it’s okay.”

Anne was in Jersey City, so I ended up going to this opera by myself.  With Pulaski Skyway closed, I thought traffic was going to be bad.  Indeed the wait to get to Lincoln Tunnel was over an hour; however, by going through Jersey City I encountered little traffic.  Off-street parking again cost only $1.50.  Construction on the helix did slow down my return: I got back at around 12:15 am.