Den koncertante opførelse bød på fremragende sangere og en chefdirigent, der var i set es.

Af Andrew Mellor

Den nye tendens er at opføre Wagners operaer koncertant med orkestret på scenen sammen med sangerne. Argumentet er, at det er orkestret, som formidler historien, hvilket kan kompensere for fraværet af kostumer og kulisser. Wagner ville uden tvivl have afvist dette blankt, men alligevel har denne opførelsesform dog en berettigelse: Wagners fantasifulde brug af orkestret – plus den ekstra atmosfære og den akustiske fordel man får ved at have alle musikerne på scenen – kommer bedre til sin ret, når man både kan se og høre, hvad der bliver spillet.

Hvis det er muligt når det gælder Wagners musik, så er det også muligt for hans Bayreuth-assistent Engelbert Humperdincks, der videreførte Wagners principper for orkesterformidling men skærpede og tydeliggjorde principperne i sine egne operaer. Humperdincks første eventyropera ‘Hans og Grete’ bygger på brødrene Grimms historie om to fattige børn, der sendes ud i skoven for at samle bær, men bliver fanget af heksen, der forsøger at æde dem. Humperdincks version er dog langt mindre grusom end Grimms oprindelige fortælling. Men operaen indeholder fortsat en del gru, fortryllelse og mystik, der i stor stil formidles gennem musikken.

Det var nogle fine sangpræstationer i denne sidste koncert i Tivolis serie ‘Store stemmer’. Det er dog usædvanligt at høre partiet som Hans blive sunget af en kontratenor, men når der ikke er nogen kostumer eller makeup til rådighed, giver det god mening at have en mandlig sanger på scenen (typisk synges partiet som Hans af en mezzosopran eller alt). Morten Grove Frandsen og Sofie Elkjær Jensen var indtagende og overbevisende som de to søskende, og de kiggede begge naivt ud over publikum, da de gik ud på scenen. Mens Sofie Elkjær Jensen stemme konsekvent er strålende og elastisk, har Morten Grove Frandsen en tendens til at synge for kraftigt i sit øverste register. Ind imellem klang hans sang decideret ubehagelig, men begge sang ømt og præcist i den berømte aftenbøn, der slutter anden akt.

De øvrige medvirkende sangere var fremragende. Elisabeth Jansson erstattede Susanne Resmark og sang partiet som moren med en melankolsk og fyldig stemme. Guido Paevatalu tilførte faderens parti enorm karisma, rytmisk energi og livslyst (den tidligere Kgl. Teater-stjernes stemme er stadig i fin form). Michael Kristensen var en storslået heks, der var komisk, selv om sangeren havde valgt at taget et skarpt, gråt jakkesæt på. Hans dans var kitschet, sjov og uhyggelig på en gang. Og det gav pote i salen. Frederikke Kampmann sang en sikker og beroligende Dugmanden og Ole Lukøje, der trøster børnene i den mørke skov.

Henrik Engelbrecht skabte den rette stemning med sine introduktioner fra scenekanten, og inden tredje akt mindede han os om, at hovedpersonen i ‘Hans og Grete’ er orkestret. Hans ord var fuldt berettiget. Selvom sangerne var gode, overstrålede Copenhagen Phil og deres chefdirigent Toshiyuki Kamioka de øvrige medvirkende ved koncerten.

Musikken er bedragerisk vanskelig at dirigere og kræver en fin balance, hurtige skift i den musikalske farve, et disciplineret ensemble, der både skal præstere en varm musikalsk glød og samtidig have fokus på detaljen. Kamioka, der må have dirigeret operaen dusinvis af gange før, da han arbejdede på provinsoperahuse i Tyskland, gav os alt det og mere til. Effekten udeblev ikke – det var som at være vidne til de enorme sider i en billedbog, der blev vendt. Kamioka elskede naturligvis hvert sekund men afviste at modtage salens hyldest til slut. Glasurren på kagetoppen var den varme og selvsikre lyd fra Det Kgl. Danske Musikkonservatoriums Børnekor. At der ikke var overtekster til den koncertante opførelse koster dog en stjerne i den samlede bedømmelse. Ellers var det en fortryllende aften.

Hans og Grete
Tivoli Koncertsal, 1.9.18

Foto: Anne Mie Drewes

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The orchestra shone the brightest in ‘Hänsel und Gretel’ | Operareview

The singers were excellent in the concertante performance and the chief conductor loved every second of it.

By Andrew Mellor

It’s the latest fashion to present Wagner’s operas as concerts, with the orchestra on stage with the singers. The rationale is that, as it’s the orchestra that tells the story, it can do some of the work of costumes and scenery. Wagner would have disapproved entirely. But to some extent, it’s true: the magnificence of Wagner’s orchestral imagination – plus the added atmosphere and acoustic advantage of having all his musicians on stage – is revealed more fully when we can see what’s being played as well as hear it.

If it’s true for Wagner, it’s true for his Bayreuth assistant Engelbert Humperdinck, who stuck to Wagnerian principles of orchestral storytelling but sharpened and clarified them in his own operas. Humperdinck’s first fairytale opera Hänsel und Gretel tells the Brothers Grimm story of two destitute children sent off into the woods to gather berries to eat, only to be captured by witch who tries to cook them in her gingerbread house. Humperdinck’s version is a lot less cruel than the Grimm original. But there is still plenty in it that frights, enchants, mystifies and reassures. Almost of that is communicated by the orchestra.

There were some fine singers in this, the last concert in Tivoli’s ‘Great Voices’ season. It is unusual to hear the part of Hänsel sung by a countertenor, but when there are no costumes or makeup available, it makes sense to see a male singer on stage. Morten Grove Frandsen and Sofie Elkjær Jensen were endearing and convincing as the two siblings, looking naively out at the audience as they walked out onto the stage. Where Jensen’s voice is consistently radiant and elastic, Frandsen has a tendency to over-sing at the top of his voice. He produced some moments of discomfort but both sang tenderly and accurately in the famous Evening Prayer that ends Act II.

The supporting case was excellent. Elisabeth Jansson, standing in for Susanne Resmark, sang the Mother with richness lined with melancholy. Guido Paevatalu brought huge charisma to the Father, rhythmically energized and high on life (the former Royal Opera star is still in fine voice). Michael Kristensen was a magnificent Witch, offering a performance full of comedy all the more ironic as it was delivered in a sharp grey suit. His dance was camp, hilarious and sinister. It brought the house down. Frederikke Kampmann sang a firm but reassuring Sandman and a fresh Dew Fairy.

Henrik Engelbrecht set the perfect tone in his witty introductions from the stage and reminding us before Act III that the central character in Hänsel und Gretel is the orchestra. His words were justified. Despite that fine cast, it was the Copenhagen Phil and its chief conductor Toshiyuki Kamioka that shone the brightest in this performance.

The score is deceptively difficult to conduct. It requires careful balance, acute differentiation of colour, disciplined ensemble playing and a mixture of warm glow and biting detail. Kamioka, who must have conducted the opera dozens of times when working at provincial opera houses in Germany, gave us all that and more. The effect was of witnessing the huge pages of a picture book being turned. Kamioka obviously loved every second of it and even refused to take a bow. The icing on the cake was the clipped, warm and confident sound of the Royal Danish Academy of Music’s Children’s Choir. With Kamioka smiling widely at them, it’s little wonder they sounded so good. One star off for the lack of subtitles, which should be provided in an opera sung in a foreign language. Otherwise, an enchanted evening.

Hänsel und Gretel
Tivoli Koncertsal, 1.9.18

Photo: Anne Mie Drewes

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