Women Out of the Shadows

Rustioni conducts Treliński’s staging of Die Frau ohne Schatten: a first for all at Opéra de Lyon

Higher powers in play: Keikobad’s Spirit Messenger (Julian Orlishausen) summons the Empress’s Nurse (Lindsey Ammann) Picture by Bertrand Stofleth

This review is published in the January edition of Opera (with Opera News) magazine and reappears here by kind permission of the editor, John Allison

As the Daniele Rustioni years draw to a close in France’s second city, the Italian conductor, now 40, is consolidating his growing reputation as an all-rounder, even if his native repertoire is still his most-prized internationally. For the opening production of the season, he chose Strauss’s huge and complex Die Frau ohne Schatten with Mariusz Treliński as director and a cast of Frau neophytes in the five principal roles: something of a risk, but a typically bold move on the part of Rustioni, who takes his responsibilities as music director very seriously indeed.

It is perhaps surprising that this was Opéra de Lyon’s first attempt at a piece premiered 104 years ago - or perhaps not, as its orchestral, vocal and dramatic requirements are notorious. Rustioni has built up the Lyon orchestra over the last five years, and the players responded to his baton with a bravura performance that rattled the rafters. The playing of the horns - who, as always in Strauss, have much to do, especially in the music depicting the Emperor’s hunting exploits - was especially impressive.

The Emperor’s Falcon-House: Sara Jakubiak (Empress) Picture by Bertrand Stofleth

Treliński’s mise-en-scène was both technically ingenious and beautiful to look at. A permanent structure on a revolve - Fabien Lédé designed the set, Marek Adamski the more-or-less contemporary costumes - combined upmarket chic, working-class poverty and timeless mythic grandeur in equal proportions. Discreet use of video projections (Bartek Macias) supplied sufficient theatrical magic.

Treliński sought to clarify Hofmannsthal’s often arcane text with a naturalistic acting style, eagerly embraced by his actor-singers. The adventurous casting of the three principal female roles paid off in spades. Sara Jakubiak played and sang a vulnerable yet brave Empress, fearless in projecting her top notes, with the appropriate delicacy for Strauss’s dramatic coloratura in ‘Ist mein Liebster dahin?’ and power in the Judgement Scene where she confronts the invisible might of her father Keikobad. As Barak’s wife, Ambur Braid portrayed the character as young, bored and excitable. The US mezzo Lindsey Ammann revealed a big, plush mezzo, undaunted by the impossible tessitura of the Nurse’s role.

The Dyer’s hovel: Josef Wagner (Barak) Amber Braid (his Wife) Picture by Bertrand Stofleth

A former Siegfried in Frankfurt’s ensemble, Vincent Wolfsteiner made a less happy debut as the Emperor. His hefty tenor is perhaps ‘traditional’ casting for this role, but the lyrical music Strauss wrote for this character ideally requires (but rarely gets) more rounded, Italianate tone and pingy top notes. As an actor, he was wooden before he turned to stone, but that’s quite traditional for this part. Josef Wagner’s youthful, honest and lyrical Barak was absolutely right for the part Strauss clearly identified with, the calming influence on his moody, cantankerous wife.

The smaller parts were cast from Lyon ensemble strength: Robert Lewis, Paweł Trojak and Pete Thanapat as Barak’s brothers, Julian Orlishausen as Keikobad’s Spirit Messenger and Giulia Scopelliti as the Voice of the Falcon and Guardian of the Temple all made their mark in their significant cameo roles. But it was the conductor’s visionary achievement with the orchestra that made Lyon’s first Frau ohne Schatten so memorable.