Peter Mattei Trilogy

[Brünnhilde forever]

"No more Don Giovanni!" I promised myself; I have watched, listened to and collected as CD, LVD and DVD more Giovannis than ever needed. But then I read an outstanding, very special review of a performance at the 2002 Aix en Provence Festival, staring in the title role a Swedish baritone I never heard of before. Peter Mattei, and the staging is by a director I think highly of: Peter Brook. A friend, living in Paris, an enthusiastic subscriber to five opera houses and writer of opera reviews in his blog, made this remark about Mattei during a Don Giovanni performance at the ONP Bastille:
"The lady next to me found him incredibly sexy: "Je ne le coucherais pas dans la baignoire," French for "I wouldn't kick him out of bed."
I decided Mattei was worth investigating! I bought the Aix en Provence BelAir DVD and was enchanted by this person. Tall, slim, good facial expressions and of course a wonderful, velvety baritone, lots of power when needed, and expressive sotto voces too; the entire range I expect in a baritone. And there is his acting! That man is alive, reminding me of José Van Dam, who can tell a whole story by raising an eyebrow. Mattei too uses his face to bring the character more alive, no exaggerations, only natural but very effective moves. I was sold, enchanted too. The partnership between Mattei and Gilles Chachemaille as Leporello was perfect, those two had fun working together! The cast effectively supplemented the sparse sets of Peter Brook, made them real. Next to the Keenlyside/Terfel Don Giovanni, this one will remain in my collection.

The second in the Trilogy is Mozart's Le Nozze di Figaro performed in 2006 also at the ONP, conducted by Sylvain Cambreling and directed by Christoph Marthaler. Before buying the Opus Arte DVD I again consulted my friend's blog and he calls it a 'well-directed and well-rehearsed' farce, with high praise for the generally young cast, with Mattei a seductive Count Almaviva, attractive in his Lord-of-the-Castle authentic contemporary hunting suit dancing with Susana a convincing paso doble to "Crudel! Perché finora farmi languir cosí". I am familiar with Marthaler through a few of his concert recordings. He definitely does not go for nudity and such objectionable directions, more childish and weird, a bit off the usual sense of humour. Mattei handles Marthaler's directions like a perfect gentleman, like the count he portrays and of course again his smooth, impressive baritone. Elegant would be the proper way to describe his acting in the jealous as well as his romantic scenes, although not lacking comical moments when fitting. It is Marthaler's style to have so much going on simultaneously making it easy to miss a lot of the individual singer's actions; disturbing if one is attempting to write a meaningful trilogy of just one. Attending a live performance is definitely better, but this DG DVD will have to serve as a good substitute.

Last but not least is Tchaikovsky's Eugene Onegin from the 2007 Salzburger Festival, staged by Andrea Breth, - who made international headlines and expanded her fame this year by directing in Salzburg Dostojewski's Crime and Punishment. – Again, how many Onegins can one digest and remember, but this one will remain in my memory for a long, long time. Listing the accolades of prominent publications would take up pages, but since this post is about Mattei – pronounced Matteyi – Opera wrote: "takes your breath away ...[with his] gorgeously sung Onegin". This is no Mozartian baritone, we hear a Russian baritone, filled with compassionate understanding of innocent Natasha's feeling, yet letting come through the arrogance of the man of the world. Chilling his ice cold reaction to killing his best friend and then, in contrast, the display of boundless passion in the last act in the confrontation with the married Natasha. I don't recall an Onegin so overwhelmingly passionately played as Peter Mattei did. Another highlight is the scene with Prince Gremin, sung beyond praise by Ferruccio Furlanetto, where Andrea Breth made it a duet between Onegin and the prince – in this version a general - . Gremin tells of his love directly to Onegin, arm around his shoulder, a conversation between two gentlemen, far from the stand-and-deliver usual performance. Mattei's facial expressions and bodily responses, even while munching his caviar, are so natural, so lively. This man's stage presence is incredible and unforgettable!

[knight66]

Dear Hilde, I am surprised you did not post any photos! We usually get a right eyeful of your toy-boys.

Thanks for the write-ups.

Did you happen to notice the sets at all? Are these the sort of productions to give AC/DC the hump or to soothe his furrowed brow?

And of course, good to see you again.

Mike

[Brünnhilde forever]

Dear Knight: Your wish is my command, enjoy the pictures, but tell Jan I discovered him first, he's mine!

[Brünnhilde forever]

One more - that's the paso doble -

[knight66]

Oh yes, I forgot, you posted them before. I have yet to hear him sing, which is the real test of a singer.

Now the productions Hilde, will they make the toes curl?

Mike

[Brünnhilde forever]

Haven't checked my toes while watching the DVDs, but one, for instance, made me gasp in amazement of the ingenuity displayed by Peter Brook in his Don Giovanni. I could not find any scene shots, sorry, and it's impossible to describe in words, at least explain in such a way as to stop the immediate outcry by narrow minded folks of 'Eurotrash. What do you think when I tell you the sets are various configurations and moveable constructions of red and blue painted 2x4 boards; moveable by the actors! I heard you: "WHAT?" Told you it can not be explained, you gotta see it, Honey, it works! 

[Brünnhilde forever]

As to your wish to hear Mattei's voice, here is a sample, it's mostly of Natasha, but he emits a few notes. - I am looking for the UTube of his Figaro, stick around. -

http://uk.youtube.com/watch?v=qE4D1tTI1SQ&feature=related

[Brünnhilde forever]

That's not the Barbiere spot I am looking for, but it'll do for the moment:

http://www.youtube.com/watch?v=-5dciDjZvWc&NR=1

[Brünnhilde forever]

Great sample from the Eugene Onegin:

http://www.youtube.com/watch?v=7WZJNTaWmhQ&feature=related

[knight66]

Lis, Thanks, it is a really beautiful voice, also, I find it more distinctive than Keenlyside's. I will look out for his work.

Here he is in refulgent voice about 12 years ago in Sibelius. He starts singing at about 3 mins 30 sec into the clip.

http://uk.youtube.com/watch?v=CFUI0j7-XQM

Mike

[Brünnhilde forever]

Wonderful Morning Gift! Thank you, Luv! 

I have the Kullervo on CD but conducted by Sir Colin Davis and Monika Groop with the London SO. The UTube shorts don't seem to post where the performance is taken place and if it's something also available either on CD or DVD, at least I can't find the information.

Another very good CD is a collection of songs by Wilhelm Stemhammar!

[Sarastro]

it's mostly of Natasha

What Natasha?

[Brünnhilde forever]

The Natasha Onegin did not love and after two years absence he did. 

[knight66]

Sarastro would know that, I should think he is wondering which singer.

Mike

[Wendell_E]

The Natasha Onegin did not love and after two years absence he did. 

Onegin's been two-timing on Tatiana with some slut name Natasha!?  Shame on him!   

[Brünnhilde forever]

Wendell, what'd you expect from a virile, good-looking hunk like him?

Natasha is the girl's name popping up in my mind when thinking of a Russian moon-struck farm girl. Surely there was at least one around by that name. So, Onegin's one goes by Tatiana, big deal! 

[knight66]

Oh, I asumed you had just decided to update Pushkin. How many Titanias does one encounter these days. 'Natasha's E mail scene.'

Mike