Customer Reviews

Strauss - Daphne

5 star:		(11)
4 star:		(2)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

I just finished watching Paul Curran's production of "Daphne" for La Fenice with June Anderson. While I enjoyed her Lucia some 20 years ago, and several other roles, I never became a real fan of Ms. Anderson's. I was, therefore, stupified at what a completely beautiful performance - breathtaking really - she gives as one of Strauss's oddest heroines. Anderson, whether singing or silent was ever a riveting presence. The voice is firm and beautiful, the high notes - even those wild exposed "out of nowhere" notes Strauss complicates the role with, are spot on, radiant with no lurching towards them, just "there" every time in perfectly executed attacks. All I could do was say "wow!"

A simply designed set by Kevin Knight (who also did the excellent costumes) - a large wooden circle laid into the center of the stage floor with (I don't know what you call this) an enormous ring surrounding it - provided plenty of space and managed to convey a place of mystery. Midway, during Apollo's outburst, the center circle rises and moves at various angles as the outer one rises high above it in wild (almost dangerous) configurations as Daphne and others wend their way over and around it - beautifully synchronized to the music - creating an almost liquid-like effect.

This staging does not allow Daphne's physical transformation into an "actual" Laurel tree (she doesn't even have a single costume change from her white pajama-type pants, white slippers and long white calf-length vest), but rather, through Anderson's graceful, almost balletic-fluidity, she navigates the constantly shifting circles of the set with a queenly elegance, striking poses beautifully lit and highly affecting. Even sans tree-costume, Anderson makes you believe in Daphne's total transformation. I can in all honesty say this was not at all what I was expecting. Anderson was 53 at this taping and while that is no longer "old" for a soprano, it would seem to be pushing it for this role and I cannot praise her beautiful performance enough. I have gooseflesh even writing this!

As Gaea, Birgit Remmert is, likewise, tremendous. Firm of voice, elegant in stature and movement she reminded me a bit of a young Troyanos. Both top notes and low (and Strauss is almost sadisticly fiendish in the vocal requirements for Gaea) she hits everything - at times sounding more baritone than mezzo. It's a rich, excellent performance and Remmert's air of physical lightness contrasted perfectly with Anderson's dreamily gloomy heroine.

Roberto Sacca's Leukippos began fairly well, but only grew better moment-by-moment and by his final scene was heartwrenching and in glorious voice. His violent death provides some of the best lighting effects as Daphne watches in horror. Here, Anderson's bemoaning of his death - both in voice and action as she falls atop his lifeless body, stroking his head, arm, and fingers was nearly unbearable to watch and got me pretty moist around the eyes.

Apollo was Scott MacAllister and in a role that doesn't require much subtlety, he provided none. It's a big sound and he sounded fearless in the music but (and this could be just me) I felt at any minute the voice would pop and break as, while fearless sounding, he never sounded particularly comfortable up there. That he got through this bear of a role in one piece - and in tune - is no simple feat, so kudos to him as well.

The rest of the cast all seemed up to the challenge as well and Stefan Anton Reck conducts the La Fenice forces with great shaping of Strauss's score. The impossibly high, delicate string writing at the end has a bit of scratchiness to it (doesn't it almost always?) and there's a rough spot or two in the difficult horn music, but these truly are minor quibbles when measured against the whole. The chorus, all of the extras, in the Dionysian celebration let loose and the stage is ablaze with color.

During the transformation scene, inset tiny lanterns illuminate the shifting set as Daphne navigates the circles, the lamps at times almost magically illuminating her hands with a golden glow. Combined with that gorgeous music, it is a breathtaking, stunning effect.

David Jacques' lighting designs are positively magical. Towards the lighting becomes a little evocative of "Close Encounters of the 3rd Kind" leaving me in equal awe.

What a wonderful surprise this DVD turned out to be! Highly recommended.

As the prior reviewer noted, this is an excellent live recording at the beautifully rebuilt La Fenice in Venice.

June Anderson has moved to Strauss roles as her voice has matured: in addition to Daphne in Venice she has performed Capriccio in Naples. She is impeccable. Her fine acting skills honed in all those "mad scenes" she has performed are clearly on display here. I also thought her voice blended so beautifully with Birgit Remmert. Would love to see them as Norma/Adalgisa.

The orchestra sounds crisp and, unlike the prior reviewer, I did not have any problem with its tempi. I highly recommend this peformance.

The Dynamic DVD is of a performance that was recorded at the beautiful Teatro La Fenice di Venezia in 2005.

The director is Paul Curran. Visually this is a charming production with a few stunning scenes. The stage is designed with simplicity: not overloaded but always colorful and imaginative. In the center of the stage there is a big wooden circle, which is encircled by two huge wooden toruses (rings). From about the middle of the opera when the angry Apollo brings in thunderbolts, the huge wooden circles start to rise up and down in various forms and angles and the whole construction is constantly changing its shape. The use of lighting is brilliant. It is especially effective in the finale of the opera, when the orchestra is playing a magnificent orchestral interlude, which portrays Daphne transformation into a tree. The whole construction on stage is faintly illuminated by dozens of small lamps. A ravishing sight! The festival of Dionysus scene is especially colorful, when the stage is crowded with singers and dancers.

The orchestra is conducted by Stefan Anton Reck and plays very well, if at times with relatively broad tempi. Strauss orchestration is masterful as always, and the beautiful pastoral oboe solo in the beginning of the opera is charming.

June Anderson is renowned especially for her Italian and French repertoire. I don't think that she sang a lot of Strauss music in the past (if at all) and now in her fifties she is definitely not in the class of the great Strauss sopranos I know, but I enjoyed her performance and involvement in the role. She is especially moving in the scene where she mourns her lover Leukippos after Apollo murdered him.

Tenor Roberto Sacca is an effective Leukippos. Although he is of an Italian origin, he was born in Germany and sings in excellent German. The other tenor Scott MacAllister sings Apollo with a big voice, and with quite powerful high notes. He will probably be a good Siegfried... Daniel Lewis Williams is an adequate Peneios and mezzo Birgit Remmert is a wonderful Gaea. Her dark and profound voice will make her a very good Erda...

To sum up, judging on musical qualities alone it cannot compete with the best CD recordings (Bohm, Bychkov or Haitink), but by itself this is an excellent DVD and I enjoyed it a lot!!

I bought this DVD for two reasons: I needed to get to know this rare opera, and because of the review by Mr/Ms Padillo on this site. Like him, I had never been a June Anderson fan. At her vocal prime there was always some question about intonation and dramatic involvement. Unlike other reviews on this site, Mr Padillo was a sceptic whose doubts had been overcome. Me too!

The quality of the HD dvd is certainly the best I have encountered. The production is a feast to the eyes: imaginative, creative, staggeringly beautiful. Ms Anderson doesn't put a foot wrong in this historical recording and -- by any standards -- it is a high point in the careers of all those involved.

You need have no doubts - this is a wonderful achievement.

I love Daphne. Let that be said at the outset. It may not be the greatest Strauss opera, but it has a warm, gentle beauty to it, and there isn't a single note out of place, so it has a special place in my heart. For this reason, I was delighted to discover this DVD, and after reading the rave reviews, I was excited to watch it.

I can only say that I came away feeling disappointed.

Not by June Anderson. Even though the role isn't exactly type-casting (what I wouldn't give to see and hear her in "The Egyptian Helena," for instance!), she does a stunning job that on its own would deserve 5 stars. The same should be said for Roberto Sacca, who not only sings beautifully (and accurately) but fully captures the spirit of his character, Leukippos. For that matter, the supporting characters and the orchestra also do a great job.

Unfortunately, one of the key three roles, that of Apollo (Scott MacAllister), is not up to the same level. His singing is forced (also occasionally inaccurate), and his German pronunciation is sometimes downright embarrassing. Worse yet, his acting is just dreary. Much of the time, this "god" seems tired and passive. Especially in the great love scene, his Apollo is so apathetic that it's up to Daphne to kiss him instead of vice versa (making hash of a major plot point). This last may not be entirely his fault, however. Such a major departure more likely comes from the director, in which case one has to wonder what on earth the director could be thinking.

This brings me to the most disappointing part of this performance: direction and production. For starters, the staging and costuming are at best lackluster. A more significant flaw is the lack of movement. While Daphne is not the most extraverted of operas, it's not an oratorio, and there is no excuse for the director allowing the cast to basically just stand around when the music calls for a little more motion. In particular, there really is no excuse for such a banal bacchanal! Never would I have pictured the worship of Bacchus as being so insipid.

However, the greatest sin of omission is the lack of transformation in the Transformation Scene at the end. This is supposed to be the high point of the opera. In fact, it is what the whole dramatic action is heading toward: the transformation of Daphne into a tree. The music is easily the most inspired Strauss wrote for this opera, and as Rudolf Hartmann makes very clear in his book on the staging of Strauss operas, the staging of this transformation can and should demand all the ingenuity a producer can muster. How shocked he would be to discover the much simpler solution this producer and director came up with: omit transformation altogether and simply have Daphne walk around! Since when do trees do that?! To be sure, June Anderson and the camera crew do their best not to make it look too foolish or boring, but it really is a woefully inadequate treatment of the transformation scene. Strauss -- and his gentle, otherworldly Daphne -- deserve so much better.

So...that's why only three stars. If I were just listening to the music, I would give it four stars (no more, as Apollo would still be sub-par even if we didn't have to watch him), but visually this opera is such a disappointment that my recommendation would be to simply buy a CD of Daphne and imagine the action yourself.

What a joy to see such a beautiful opera so well performed. The almost two hours go by in a flash, and you are riveted by the soaring high notes of June Anderson. The role of Daphne isn't easy, and that's why it's so rare to see or hear this opera. Also, you have to have two major tenor parts filled, and how often do you get to see that? But the real joy of this performance must go to June Anderson - like the previous reviewers stated, she is in top form, with no hint of harshness or wobble in the voice, and she sails effortlessly through all the higher passages. The supporting cast is generally fine, and the orchestra does a good turn at a very difficult score, sounding quite Straussian throughout. This is a must see for fans of this neglected work, and more importantly for those who have not yet had the pleasure of hearing this glorious music.

Soprano June Anderson has had many an operatic triumph in her long career;
here however she achieves greatness. Her performance as Daphne is thrillingly sung and wonderfully acted. Not since Hilde Gueden has the
role been sung this well. Anderson reminds me a little of Vanessa Redgrave here. She brings a purity to her acting and a simplicity proving
that less is indeed more. I'm comparing Anderson to the highest because
that is the comparison she invites and has earned here. In fact, the entire production is splendid, running along traditional lines. Anderson
is surrounded by a fine cast of singing actors, especially Roberto Sacca
as Leukippos, who comes close to evoking memories of the late Fritz Wunderlich in this role. Highly recommended as a landmark achievement in
the career of June Anderson. Her height makes you believe she could sacrifice herself into a laurel tree, and her remorse at the end, and
subsequent forgiveness by Apollo is movingly portrayed. Richard Strauss
would have cheered this performance!!

Solid singing by June Anderson with excellent HD recording techniques made this DVD an experience to enjoy.
Ernest Butler

Daphne is some of R. Strauss's most gorgeous music. Unfortunately, the show is almost never performed. Further more, this is the ONLY DVD version available. I fear that there are 3 things working against the opera that prevent it from being performed more frequently. 1) the role of Daphne is incredibly difficult. No, the high notes are not the highest written, and no, the opera is not hours long. However, for the entire hour and a half (no intermission), the role consistently sits in a very high place for a lyric soprano. There is almost no middle voice implemented throughout the score. Rene Fleming recently made a CD recording and openly admitted that should would never perform the role in a fully-staged live performance (although I don't believe this was an appropriate role for her in the first place). June Anderson has the notes, but again, it's the wrong voice for the role. 2) the role of Gaea requires the performance of the lowest note written for a woman EVER. It's a low E, and a stretch even for some tenors. Let's be honest it's even on the low side of the middle range for baritones! Finally reason 3) At the end of the opera, Daphne turns into a tree, in front of the audience, while singing (at least that is what is meant to be conveyed). This production didn't even try. Walking in a circle does not have any significance to turning into a tree. Come on!

Needless to say, I was disappointed with this DVD. I really do believe that the score itself is some of the most glorious and moving music written for the operatic stage. Daphne's final scene "Ich komme..." get's to me every time I listen to it. My suggestion, find a recording on the EMI label with Lucia Popp singing Daphne. It is currently out of production, but there are some old copies floating around out there. Her voice is absolutely pristine and exactly what the role needs. I find that listening to that recording is far more moving than this DVD. Although, I do appreciate the fact that someone made an attempt (although a lack-luster one) to put this magnificent opera onto film. I think 3 stars is fair.

The staging of this 2005 production is quite interesting, because it works in all its modesty. It is, of course, a matter of taste, but I like a sober approach, because it brings your attention to the centerpieces of an opera: music, words and acting skills.

June Anderson, 52 at the time of this production, is in fine voice. Perhaps, at times, her voice is a bit too dramatic for portraying a young girl's laments, but her portrayal of the innocent Daphne is sincere and she uses her acting skills to great effect.

I wish I could say the same about Scott Mac Allister's Apollo. Surely, the voice is there and it has a commanding presence suited for the role - which reminds me a bit of James King's beautiful tenor voice - but at times he just forgets to act! He also seems to have some trouble reaching for the high notes, although, if I'm not mistaken, he reaches them all.

Roberto Sacca is a fine Leukippos with a ringing voice.

The playing of the Orchestra of La Fenice under Stefan Anton Reck is fine and consistent, although not extraordinary in any way.

The sound and video quality are excellent.

Let's come to a conclusion (in which I compare this recording to my favourite: the 1964 live production on Deutsche Grammophon (only audio)): June Anderson is no Hilde Guden, Scott Mac Allister no James King, Roberto Sacca no Fritz Wunderlich, and, finally, Stefan Anton Reck is no Karl Bohm. I would say: These days are gone and we have to deal with that.

But: it is a throughout enjoyable production, captured by modern technology (no audience noises like in the 1964 production), with fine singing and playing in an interesting set design. Furthermore: it is the only commercial release of this Strauss opera on dvd to date!

So: buy and enjoy this neglected masterpiece!