Die Tote Stadt [DVD] [NTSC]

... I might have a higher opinion on this Opera du Rhin 2001 production of a work and composer musicologists rather pointlessly still debate whether both are minor or major and which generated hot debate (which as I notice permeated to this website, as can be gathered from browsing through the entries by other fellow reviewers). As the specialised press on both sides of the Rhine did, you'll either hate it or love it. The well known English critic Alan Blyth, writing for Gramophone magazine when the set was issued in Europe, rather dismissed as "bizarre"; I wouldn't go as far as a whole, although the second act actually comes close, its conception being unnecessarily odd, perhaps verging on the grotesque.

Any way, this is the product of a wunderkind of 23 to me still in the process of duly assimilating the various musical influences he was exposed to: Richard Strauss is never far behind, as neither are the Puccini of his last works or even the viennese operetta composers of the time. In fact, most of Marietta's vocal part is characterised by a soaring utterance (which Denoke no doubt relishes and for which she seems very apt and abled) typical of the vocal lines of female parts in works like Der Rosenkavalier, Ariadne auf Naxos or Die Frau ohne Schatten. The work is uneven, reaching heights of perplexing beauty besides segments perilously about to cross the boundaires of the sugary or schmalzy sentimental, viennese style (and that is to say something). References to the successes of Jeritza and Tauber in the protagonical roles, and wielding them as criticism arguments against Denoke's and Kerl's accomplishments have lost any significant relevance to me in 2005, as the 1930's are by now too remote from us and I sincerely doubt anyone's memory to be reliable enough after so much time as to make the comparison viable; or, for that case, as may be evidenced from reconstructed 78's.

So, if you're bent on exploring the unfamiliar or willing to expand your repertoire, Die Tote Stadt may be of interest to you. With superior performances from the four principals (Angela Denoke, Trosten Kerl, Yuri Batukov and Birgitta Svenden), luxurious sounds from the Strasbourg Philharmonic and impeccable conducting from Latham-Koenig, and if you put up with some questionable aspects of an irregular staging concept on the part of stage director Inga Levant and Magali Gerberon's costumes (especially in the second act), you'll enjoy this Arthaus Musik release, which by the way features an informative and helpful booklet that puts composer and work into due perspective and context. The programme includes no additional material, regretfully, but carries menus in 4 languages and subtitles in 5.

Korngold(1897-1957) is remembered for this opera Die Todt Stadt and numerous film scores like that for Captain Blood and the Sea Hawk with Errol Flynn.Also his opera Die Wunder Der Heliane which Korngold thought to be his greatest work.Premiere February 1927.CD Rundfunk Chor Berlin. RSO Berlin Cond John Mauceri,with Tomowa-Sintow,De Haan,Runkel,Pape. A beautiful work.CD Die Todt Stadt- Carol Neblett- Rene Kollo, Prey. Munich Radio Orchestra-conducted by Leinsdorf. Korngold went to Hollywood because of Anti -Semitism in 1934.

The libretto was written by Julius and Erich Korngold. Julius was a well regarded music critic in Vienna. The pseudonym Paul Schott was based on the hero in this opera and the name of the publisher.Based upon George Rodenbachs 1892 novel Bruges La Morte. The opera has psychological overtones and a dream sequence. "In the quiet,almost deserted grey city of Bruges,the hero has lost his beloved wife,but he cannot accept her death;he begins each day by worshipping at the altar he built to honour her relic-a plait of her hair. One day,he meets a dancer Marietta who strongly resembles his dead wife.After spending the night with her,Paul becomes consumed with guilt, and when she mocks his altar and the sacred tress of hair,he kills her and collapses.Then the door opens, and Marietta appears to ask Paul for her umbrella:he has been dreaming. This time when she asks to stay,he tells her to leave. He has learned from his dream to live in the present,not the past."(St James opera Encyclopedia 1997: 825)

In 1920 this opera premiered in two cities Hamburg and Cologne. He was then 23. The Todt Stadt appeared in 80 opera houses throughout the World. The story about excessive mourning struck a chord with audiences after the First World war. The music uses a large orchestra,influenced by Richard Strauss's "Woman without a Shadow", Lehar, Mahler and Puccini, who loved this opera.But he has his own voice as it were. While tonal, the work has dissonances and rich Chromaticisms,lush with beautiful melodies, including Act 1, Gluck,das mir verblieb,one of the most beautiful arias in the entire opera output.Sung first by Marietta,a vision of Marie -dead wife,then Paul, repeated throughout the opera like a leitmotiv,plus the Pierrotlied.

The Stage director is Inga Levant. The Scenery and Costumes are a cross between late 19th century,the expressionist period after the 1st world war, garish colours and modern neon lights. Dark in places.Marietta is Angela Denoke who with her high voice brings the character to life(she is in the new salome-the best yet) and Paul is Torsten Kerl(Rienzi). Both sing beautifully. Frank,baitone is Yuri Batukov and Brigitta is Birgitta Svenden. All parts are sung well.Jan Latham Koenig conducting the Orchestra Philharmonic of Strasbourg understands Korngolds music The tuneful lush melodies and well written libretto may make you wonder why this opera is not played more often than it is. It is better then many operas revived. I suppose it is thought of as Kitsch which it isnt. After all Berlioz's les Trojans was seen as a white elephant, an impossible work, until it was first heard nearly complete at Covent Garden in 1957, then the opera was seen as a great work. When you hear this well sung and played Die Todt Stadt you will wonder why it is not considered a great work by a brilliant composer. PCM Stereo,DTS 5.1. 16.9. region code 0-worldwide.

I agree with the other reviewers who would give many more stars to the performers - just excellent. Torsten Kerl is an excellent Paul, and at the very end I have to say the look of desolation on his face sent me into floods of tears. The actual ending itself was a suprise to me, but I thought he made it work well. What an actor! Considering the strange ideas of the producer (the doll, the corpse, the team of actors etc...) he did a compelling performance of making the emotional beauty of the piece stand out. As one reviewer said, the opera outshines the slightly weird stage ideas. Bravo!
I would highly recommend this DVD, and am very glad I chose this one - it is highly atmospheric and the cast superb.