Metropolitan Opera Review: 'Les Troyens' is a Heroic Triumph

This review is for the performance on December 21, 2012. 

Hector Berlioz's "Les Troyens" is undoubtedly one of the great gems of the operatic repertoire, but its immensity makes it difficult to consistently produce at most opera houses. It has been almost 10 years since the Metropolitan Opera presented Berlioz's magnus opus, but the combination of a vibrant cast, solid conducting, and a brilliant production made for one of the best nights of the 2012-13 season thus far.

Francesca Zambello's production is sheer genius from start to finish. The set is created on two levels. On the lower level is a circular shape with a rotating center. The second level is a semi-circle that has a wooden framing around it. In the center of the semi-circle, there is another semi-circular cut-out or window that enables us to see the action that is otherwise obstructed by the wooden frame on the rest of the set. In the first part of the opera "Le Prise de Troie" the set maintains a rather barren aesthetic with the major crowd scenes being the only visual reference throughout. In the second portion of the opera "Les Troyens à Carthage" maintains its minimal style, but there is far more lush imagery and the circularity motifs become apparent in some of the furniture. For example, a set of two round glass walls represent the bedroom of Didon while her bed is a miniature circular construction of Carthage.  In the final scene, which represents the tragedy of Didon, the lighting, scenery, mood, and style played in almost identical fashion to the Cassandra portion of the opera.

The beauty of the Zambello's conception and execution is how it creates a strong sense of clarity and unity in such a gargantuan and seemingly erratic work. Many have stated that "Les Troyens" is almost two operas with two completely different stories and moods. However, Zambello refutes that observation  a strong sense of unity amongst the parts and helped elevate Berlioz's rapturous score. The circularity seemed to express the idea of the cycle of creation and destruction of empires. As the curtain rose on the first act, a large crowd of Trojans lie on the floor seemingly dead. They eventually rise and the drama continues as such, but that striking image stays with the viewer throughout the night. As the opera comes to an end, the entire populous of Carthage huddles around the dying Didon and essentially recreates the same exact image that the opera started with, bridging the two sections and emphasizing the cyclical feel of the work. The theme is further developed in reference to its two central Heroines. As Cassandra laments the fate of the Trojans, she grabs a curtain off stage and covers the entire stage with it. It is behind this curtain that the massacre of the Trojans by the Greeks occurs, but we never see it. At the end of the opera, Didon covers the stage with same curtain as she laments her fate and the end of her reign in Carthage. Both heroines wind up committing suicide and while Cassandra's "mad scene" is the opera's first solo appearance, Didon's "mad scene" represents the work's final solo of the opera.

If the first part and third part (the performance has two intermissions) showcase the tragic dimensions of the work and the fall of the great empires, then the middle section represents the height and happiness of the work. Save for the subconscious tension, Acts three and four of the work are celebrations of the unity of Carthage and Troy and the love of Enée and Didon. The work showcases the majority of the pageantry that represents the French Grand Opera tradition and Zambello does not shy away from celebrating through this section of the performances. Ballets permeate the section and really create a strong sense of liveliness that contrasts with the darker, more still imagery in the outer movements of the work.

As impressive as Zambello's formal unification is, it is her ability to dig deeper into the characters and the story that elevates the production. For Zambello, Enée and Didon's love is not only the unification of two lonely beings; it is the synthesis of two nations into one. During the sublime Royal Hunt sequence, Zambello has Didon appear on the upper stage while a ballet of Carthaginians appears on the lower stage. The Trojan soldiers return from battle and appear on both levels, but there is a certain level of separation between the two; on the upper level, the soldiers walk past Didon without paying much attention to her while on the lower level the Trojans and Carthaginians dance separately. Enée shows up last and meets Didon at the center of upper stage where they embrace in what seems like an eternal kiss. As the two lovers indulge in this moment of bliss, the Trojans and Carthaginians begin to dance in pairs together. Didon and Enée walk off stage together and a couple of dancers representing the two lovers join the rest of the company on the lower stage in a moment of sublime unity. During the love duet "Nuit d'ivresse" the lovers sing in an empty space, almost as if they are transported to an abstract dimension that only they can experience. However, Zambello also has couples of Trojan males and Carthaginian women lying side by side in circular shapes throughout the stage, emphasizing that Enée and Didon's love has implications for the two nations. It heightens the stakes internally for the audience and makes the tragedy of the work all the more significant.

Susan Graham had a triumphant night as Didon. As she sang her first entrance aria "Chers Tyriens", her voice had a light, tender sound that expressed the gentle and fragile, but restrained and composed nature of Didon. She maintained a similar softness throughout the entire act which climaxed in ethereal singing during the love duet at the end of Act 4. During the final act however, the rage took over and the gentle singing gave way to a fuller voice that pushed to its expressive limits. Graham is known as a lyric mezzo soprano and it was surprising to hear such a powerfully visceral sound in the latter act. There was no longer restraint and singing  was completely consumed with passion. She won the greatest applause after her monologue "Je vais mourir" which saw the character's booming voice return to the tender lyricism as she recalled the beautiful nights of love one last time.

Deborah Voigt had an impressive night as Cassandra. Her voice sounded secure during the extensive role and her upper range blossomed ardently. As she sang of Chorebe's impending death Voigt's voice had a tormented quality and had a heartbreaking effect.

Marcello Giordani had an uneven night in what has now been announced as his final performance of the role. His middle range is by far his best while his high notes sounded a bit shrill and forced throughout. He seemed overwhelmed with the high tessitura of Enée's entrance narration, but then found his way through the remainder of Act 1 and 2 and Act 3 and 4. He sang with delicate phrasing during the love duet though there were signs of breath shortness in many passages. Enée's final aria resides in the upper range of the tenor and even requires a high C at one point. Giordani struggled throughout the entire aria and created a strained, almost screeching sound on the aforementioned high note. It was an unfortunate way to end after what had been a solid performance up to that point. On Saturday the Met Opera released a press release stating that Giordani would retire the role and not sing the remaining four performances of the run. No reason was given for his retirement of the role, but there is a great deal of speculation that the booing he received on the opening night of the run is the center of it all. Giordani has been a Met favorite for years and has had a number of triumphs at the house in such works as "Benvenutto Cellini" and "Il Pirata." To be booed by the audience that most respects him is a major confidence blow and if his reason for retiring was out of respect for his audience, then Giordani continued to prove himself a fine artist that has integrity and respect for his public.

Prior to the start of the performance, the stage manager announced that Dwayne Croft was suffering from an illness but would still sing the role of Chorebe. Croft brought elegant phrasing to the role of Chorebe during his duet with Cassandra, but there were a few instances where it was clear that Croft's voice was not in optimal form. Karen Cargill's weighty mezzo provided a solid counterpoint to the delicate sounds Graham created in the first half of her performance. Eric Cutler's tenor has grown grainy over the years, but he still sang Iopas'"O blonde Ceres" with suavity. He sang some of his high notes mezza voce and delivered a thrilling high C at the climax of the section. Paul Appleby was the most impressive tenor of the night with his refined singing and ravishing tone in the melancholy aria "Vallon sonore." Kwanchul Youn brought an earthy tone as Dido's minister Narbal and David Crawford brought an imposing and vibrant color to the role of the dead hero Hector.

Conductor Fabio Luisi brought his signature polish and propulsive reading to the scoring. He emphasized the jagged accents in Cassandra's entrance passage so vividly that they not only created a chilling feeling, but also stressed the Cassandra's emotional instability. When the Trojans appear in Carthage for the first time, Berlioz presents their main martial theme in minor key to hint at the impending tragedy. Luisi maintained a lax tempo here, but there was a sense of urgency that made the theme all the more menacing.  After Enée and the Trojans run off, the ensuing music showcases an agitated, rhythmic accompaniment in the violins that depicts Didon's restlessness. While most conductors opt for a slower tempo, Luisi pushed ahead making the violin patterns create a greater sense of urgency and tension. It gave the accompaniment a sense of direction and almost made it feel as if some explosion of violent sound could emerge at any moment. Later in the section, Didon hurls curses at the Trojans in a recitative accompanied by full bodied orchestral chords. As Didon's anger increased, the sound of the orchestra did as well and at the climax of the section, the explosion of violent sound did finally occur.

Berlioz's "Les Troyens" is one of the most underrated works in all of operatic literature mainly due to the fact that it is rarely heard. However, the performance at the Met this Friday showcased how powerful and breathtaking Berlioz's masterful score could be. The opera may not return to the Met stage for another 10 years, but the experience of the current cast (with the addition of tenor Bryan Hymel) and visionary production is one that could last a lifetime. 

Other Opera Reviews By David Salazar

Un Ballo In Maschera (November 27, 2012)

Aida (November 23,2012)

La Clemenza di Tito (November 20, 2012)

The Tempest (November 7,2012)

Le Nozze Di Figaro (October 26, 2012)

Il Trovatore (October 17, 2012)

Otello (October 16, 2012)

L'Elisir D'Amore (October 5, 2012)

Carmen (September 28, 2012)