The Stigmatized
It seems extraordinary that, though Franz Schreker, was considered on par with Richard Strauss as an operatic composer, he is only now receiving a first production for any of his operas in the Western Hemisphere. And yet, this is how completely and effectively the Third Reich was able to erase the careers of numerous so called “degenerate”artists. We can only count ourselves lucky that James Conlon and LA Opera have continued their commitment to resurrecting the works of these composers in their “Recovered Voices” Series.
The premiere in question is DIE GEZEICHNETEN (THE STIGMATIZED), Schreker's 1918 succes de scandale. Schreker's libretto capitalized on the public's fascination with Beauty, Romanticism, and the darker side of human psyche while adding in an irresistible frisson of debauchery. Placed safely in a Medieval Genoa, the narrative must still have resonated with many in the audience as something far more contemporary. No doubt, this is the reason that Director Ian Judge chose to update the production to the time of its composition.
Schreker's protagonist is Alviano Salvago, a fabulously wealthy but troubled hunchback, and the only main character to wear his “stigma” openly. Salvago has sought redemption by creating a monument to Beauty on a nearby island he calls Elysium. He is both scandalized and intrigued to find out that a group of nobles has corrupted his sanctuary by using an underground cavern for orgies where they violate women of their own class. He decides to stop the illicit bacchanals by turning the island over to the city which puts him on a collision course with the reckless leader of the nobles, Count Tamare. Throw in the beautiful and free-spirited painter Carlotta, who has caught the attention of both men, and one can see a clear recipe for operatic disaster.
Schreker's music embraces the luxurious height of late Romanticism- chromatic and tonal with soaring melodies and expansive orchestrations (he apparently wanted 120 musicians in the pit). There is a glorious shimmer to the score that believably propels the characters toward ecstasy. There is also a point, after three hours, when this unrelenting lushness curdles and we enter the sordid realm of the cavern.
Robert Brubaker is a masterfully tortured Salvago. Hobbling about the stage on crutches, he is pathetic and compelling. Watching his mood change from mystification, to anger to rapture in the scene where Carlotta seduces him is a master class in opera performance. As the bewitching Carlotta, Anja Kampe lets loose in full Alma Mahler mode (a woman of whom several operas could be written.). Given the most ravishing music in the opera, she brought intelligence and a full-voiced lyricism to the role. Martin Gantner ably completed the triangle with his arrogant and unrepentant Tamare.
GEZEICHNETEN sprawls both musically and dramatically. It is to his credit that Ian Judge keeps the plot threads and characters clear and focused. It is even more amazing when you take into account the production's monetary restrictions and the fact that the staging had to play on the unforgiving rake which forms the foundation of Achim Freyer's Ring Cycle. Luckily the Cycle had given the company more experience with projections which were effectively used throughout the opera. The production looked spare, (especially as the Chorus was kept offstage) but not cheap.
In the pit, James Conlon effortlessly conjured Schreker's exotic shimmer and made a strong case for the the opera. “Recovered Voices” has been his passion and we are the richer for it. Though the series does not have a place in next season, I hope that Los Angeles audiences will have many more operatic revelations from this period in our future.
Dorothy Chandler Pavilion April 10 – April 24, 2010 (213) 972-8001 www.laopera.com