Customer Reviews

Royal Danish Opera : Carl Nielsen's Maskarade

5 star:		(3)
4 star:		(1)
3 star:		(1)
2 star:		(1)
1 star:		(2)

 

 

I was very much looking forward to this performance and in many respects I wasn't disappointed. The singing was excellent and the updated production was a lot of fun. So why only 3 stars? The video director had the wrong focus BIG TIME. There were constant cuts to the orchestra or individual orchestra members when they had a solo. It was exasperating - totally ruining the flow of the performance and that is critical to a comedy. What was s/he thinking? I counted 107 in act 3 alone! If you want a DVD of this opera, find the one on Capriccio from the Bregenzer Festspiele by David Pountney. I don't think it's available in the US. I purchased mine in Munich last year.

Unlike the first reviewer of this DVD (Stefan Lazar), I found this DVD of Nielsen's comic masterpiece to be a real jewel. Granted I have not, like Mr Lazar, seen the earlier DVD of the opera and thus cannot compare the two. But I found little in this DVD to argue with. His primary objection seems to be that the camera frequently shifts from stage to orchestra (or to the lively actions of conductor Michael Schonwandt who, amusingly, mouths every word of the libretto as he conducts). As an instrumentalist myself, I found this not to be distracting and in fact thought that the editing was masterly in that the cuts to the orchestra tended to emphasize the many felicities of Nielsen's extraordinarily inventive orchestral score, all without taking away from the action on stage.

The action has been updated to the near-present from the libretto's original 18th century. This makes little difference to the story itself and does not distract at all. The story of mistaken identities, controlling fathers, young lovers, scheming servants, and the like, updates quite nicely. There are many amusing touches that could not have been included in a literal 18th century production; e.g., the night watchman on roller skates. There are some inventive touches in the stage design. For instance, the lineup across the stage of the beds of all the main characters in the nocturnal Act II. And there is a trompe l'oeil scene in Act I that I won't describe for fear of spoiling its surprise for possible viewers. The gala Act III masked ball is replete with colorful costumes, dancers, acrobats, and even a trapeze act.

As for the musical values of the production, I can't be more enthusiastic. The orchestra of the Royal Danish Opera is simply superb (and I was glad to see so many of the players close up). The chorus, too, is marvelous. But my highest praise goes to the singing and acting of the cast, most of them young singers not otherwise known on the international scene. I would single out the production's Henrik, Johan Reuter, who not only sings beautifully but acts the lovable scamp to a T. Leander's father, Jeronimus, is the fine basso Stephen Milling who not only sings well but plays the comic/stern father convincingly. The young lovers, Leander and Leonora (yes, yet another operatic Leonora) are played and sung marvelously by Niels Jorgen Riis and Gisella Stille. It doesn't hurt that the members of the cast look their parts. Even the less-than-svelte Magdelone (the middle-aged Mrs Jeronimus), played and sung by Susanne Resmark, makes a ridiculously kittenish flirt.

Indeed, I found myself laughing out loud repeatedly while watching this production while at the same time drinking in Nielsen's beautiful and inventive music.

There are helpful notes and a fine synopsis but no libretto. However, subtitles for the Danish are given in English, German and Danish. Menu language: English. Bonus feature: The Making of 'Maskarade'. Sound: Dolby digital, DTS. Picture format: 16:9. Regional code: Worldwide. Running time: 138 mins

Recommended.

Scott Morrison

I hope we are not about to enter the era of the regie video director alongside the stage regie director. If you've ever wondered what an opera looks like from the pit watch this video. I think there is more attention paid to the pit than to the stage. Sleiborg's philosophy seems to be to cut every 10 seconds. By the end I had a headache. Besides which he is unable to accomplish the most basics of video direction. At times the camera fails to capture the singer (and this is when it is on the stage). At least once we get to see an orchestra member who isnt't even playing. He destroys one key surprise by filming neither the actor nor instrumentalist. To be really fair he should have cut to members of the audience as well. The lady unwrapping her candy; the gentleman snoozing. They are part ot the experience also. He far surpasses any theater of alienation. Berold Brecht would have been proud of him. From what one can see of it the performance is decent. But who can tell. Would that Brian Large could direct all videos - he knows exactly how to do it. Does he given lessons?

This is possibly the best 20th C opera that you'll NEVER see on stage unless you go to Denmark. "Maskarade" owes a lot to Richard Strauss, in music and in dramaturgy, but whereas Strauss became insufferably pretentious and portentous, Nielson surrendered himself to the irreverent, earthy, skeptical humor of the Danes. Oh boy, did Shakespeare get it wrong with that "melancholy Dane" pronouncement, at least judged by this libretto/opera, based on a play by Denmark's greatest playwright Ludvig Holberg (1684-1754).

Even without stage director Kasper Holten's witty transformation of "Maskarade" from its original 18th C setting to modern times, this is the funniest, friskiest opera since Rossini. At least I found it killingly funny to hear a burly Dane singing about love while actually showering on stage. It's a burly cast altogether... just what we Swedes would expect in Copenhagen... all of whom sing like 100-kilo nightingales. Tenor Niels Riis (Leander) and soprano Hanne Fischer (Pernille) are the young aristocrats who comically reject their parents' wishes to bring them together but then encounter each other in masks at carnival and fall in love. Ludicrous as their situation is, with all the commedia dell'arte mix-ups and mockeries, their love duets in the third act are lusciously beautiful music, fully as subtle and rich as the best of Richard Strauss or Wagner.

Maskarade premiered in 1906. To stage it in the dress and manners of 2006 might seem risky, but Holten in fact makes the story timeless. The incorporation of some first-rate circus acts -- acrobats, aerialists, hand-balancers -- into the stage business and in place of ballet works very nicely to emphasize the timelessness of the scene. Nothing is more timeless than acrobatics. The constantly surprising stage sets and costumes contribute to the atmosphere of carnival magic. Some reviewers have expressed irritation at the camera editing; the editor often cuts from the stage business to the orchestra and its conductor Michael Schønwandt. If that bothers you, well then... it bothers you. I would apologize for it if I had had any role in the production, which I didn't. All I can say is that it didn't bother me.

The soul of the comedy is, naturally, Leander's valet Henrik, sung and acted valiantly by Johan Reuter. Think of the great-hearted rascally servants of Mozart's and Rossini's operas, and add Henrik to their ranks. Leander's father Jeronimus, sung and acted potently by baritone Stephen Milling, likewise belongs with the finest philandering Counts and thwarted Fathers of the opera stage.

Trust me, even if you've never warmed to the symphonies of Carl Nielsen, you'll find this production highly entertaining and this music more satisfying than you expect.

This is an opera to enjoy it. Performers, from the singers to the conductor to the orchestra members really enjoy it, and it is contagious. This production is transposed to modern times, which creates some awkward instances with the libretto but on the other hand it allows for real funny theater, modern theatrical tricks that are nice and entertaining. The music is the core and it is nice, easy and enjoyable. The filming and the audio are not always perfect, but good enough to enjoy the performance.
As in any comic opera, there are serious interpretations and messages that, due to the present day staging can get lost, but it does not preclude the understanding and the enjoyment of the production. The third act is sometimes confusing, so I recommend reading the DVD pamphlet before starting the program.
I recommend you show this DVD to non-opera watchers, they will enjoy it.

I was really looking forward to finally seeing this opera. I still don't feel that I have seen it. I concur fully with those who condemn the fact that we are constantly jumping back and forth from the stage to the orchestra. If the violins are required to play pizzicato, we cut to watch them pluck the strings. If a musician has a solo phrase, we watch him blow. Never does the timpanist strike a drum without the camera cutting to him. From what I can follow on stage it appears that that the production had a director who didn't trust the material and so worked in incongruous and silly bits. I still don't feel that I have seen this opera and certainly will not put myself through trying to watch this horror again. I'll stick to the CDs. You should, too.

This set seems to have divided opinions not on the quality of the opera and the performance - which are superb - but on the filming of Nielsen's delightful and charming Maskarade.

I totally side with J. Scott Morrison in his enthusiastic response to this DVD, filming and all. The frequent camera movement didn't bother me in the least. It was not disconcerting and didn't intrude upon my enjoyment of this wonderful Danish treat a bit. If anything, I think the camera changes enhance the rambunctious comedy on stage. In fact, the filming quite outstandingly seems to focus on the right thing at the right time with great regularity, no small feat with what the video director has attempted.

I found it charming to observe the occasional smiling instrumentalist obviously delighting in what was taking place on stage, and seeing frequent glimpses of conductor Michael Schonwandt mouthing every word to the opera (he claims to have memorized it soon after he first saw it at age 10!). And to see the interaction at the end of the opera brought a lump to the throat. I won't spoil what happens, but the ending, and in fact, much of the opera, are, as in the best of Nielsen's music, life affirming. It brings tears of joy.

Maskarade has knockabout comic similarities to the Marriage of Figaro and Falstaff, and Nielsen's voice, if early in his maturity (the Third, Fourth and Fifth Symphonies were to come a bit later) is distinctive. The young cast enters fully into the spirit and vocal demands of the piece. Some highlights include the orchestra music (overture, Act 3 dances), Magdelone's cheeky Act 1 dance scene and folie d'espagne, the magnificent quintet to end Act 1, the touching unmasking in Act 2 and the riotous show within a show in Act 3 (with a jolt of spark and fun similar to the show within a show in Die Fledermaus and Britten's Midsummer Night's Dream).

I am usually not fond of updating scenarios to operas, but this one works splendidly. The color, fun and creativity are most impressive. Kaspar Bech Holten's direction is to be commended.

This is Denmark's national opera, and was premiered in 1906 but amazingly, didn't get performed outside of Scandinavia until 1972 in Minnesota!

There is also apparently a Saul and David from this source, which I highly look forward to.

This production and filming are totally a delight. An easy 5 stars.

I have to concur; the performance is fine, but the editing is really bothersome. Face it: would you want to see a closeup of the oboist's beard, or watch the opera? At times, these cuts to the orchestra occur every 8 seconds! Kim Rasmussen (the editor listed) should be forced to spend the next few years listening to Billy Budd over and over again (and my apologies to all you Britten fans out there, but I couldn't think of anyone else that I dislike more)!

Addendum: the video image itself is pristine, but all three audio tracks (inc. DTS) are very muffled. The DVD is probably my worst sounding opera.

Addendum #2: Just played it again using the PCM digital through an Audio Research D-A over Kef speakers. The audio still sucks! The orchestra is sounds almost like a mono recording from the 50's. Given the quality of the video, they really could have done better.