Rolando makes it hurt
Wednesday, July 5th, 2006Tonight is my last Wednesday night as a resident of Berlin. I’m enjoying that strange, uncanny calm that comes right before such foreseen upheaval. Actually, maybe it’s not calm, but lethargy. Apathy? Who knows.
Wow. Lydia Steier not in Berlin. Lydia Steier, resident of Stuttgart, Bundesland Baden Württenburg. It just sounds too buttfucking strange.
Enough of that, then.
Tonight I saw Rolando Villazón sing live, with Daniel Barenboim conducting. The opera was Carmen.
Now, Carmen is a great piece that can be ever so easily fucked up. I’m relieved to say that this wasn’t the case this evening (despite the chorus staging at the top of Act IV). The problem in Carmen, is that for the second two of the opera’s three hours, the major dialogue between the two protagonists goes something like this:
Don Jose: I love you so much, Carmen.
Carmen: Hmmm, what? Yeah…okay great. Super.
Don Jose: You don’t understand…you’re my life, my one, my everything!
Carmen: You sound like a fucking pussy.
Don Jose: A pussy? Devil woman! Does that mean you don’t appreciate my forebodingly unstable yet fiery Spanish passion anymore?
Carmen: Not really.
Literally. Two hours (Longer in the French cut). Albeit relatively more eloquently stated. In the final duet between Carmen and Don Jose…there’s a really dangerous line that, in the worst of circumstances (which I’ve also been honored to have witnessed), can trigger scornful laughter from the audience. After, I repeat, TWO HOURS of this kind of back and forth, the orchestra goes suddenly quiet, and the tenor, Don Jose–now totally mad from unrequited love and having forsaken all things sacred in his life outside of Carmen (duty, honor, religion, family) whispers: “Carmen….you don’t love me?”
Villazón sold it. Totally. Even I, one of the most cynical, critical assholes you can find concerning this kind of thing, was speechless at his portrayal. I bought everything he was selling, in every color he had in stock.
The man has an interesting, colorful, virtuosic yet regrettably small voice. The Russian shitkicker they hired to do the title role really had to be careful not to bury him at times. Still, the way he combines the potentials of his voice with an uncannily melting dramatic performace….
…well it’s what makes him a star, clearly. I don’t know if I buy the current Villazón/Netrebko-as-latter-day-Gigli/Callas PR masturbathon. Still, that combination of voice, looks and dramatic balls is something quite extraordinary. Here in the German fest-system, it’s too easy to get into the practice of viewing opera-making as a type of factory work. Sometimes it’s just nice to see that the form can transcend itself from time to time, with the right people.
A bit of awe every now and fucking then never hurt anybody, eh?


