Enthralling Music in Music and Vision 30 Novembre

Enthralling Music

Hans Werner Henze's 'The Bassarids',
reviewed by GIUSEPPE PENNISI

Teatro dell'Opera di Roma usually selects a rather well-known title to inaugurate its season. The opera chosen is generally not very long to allow for extended intermissions and dinner parties where ladies can show their evening dresses and gentlemen their tuxedos. This year, the new management team made the bold decision to start the season with Hans Werner Henze's two hour one act tragedy The Bassarids in its original English version. In Italy, The Bassarids was performed only once — in La Scala's 1967-68 season — for a few evenings, and in a German translation. Bravery is often rewarded. At the 27 November 2015 inauguration, I was in a very full theatre with an unusual audience: tuxedos, long evening dress, dark suits and very casual attire, including jeans and cardigans. Also in the audience were quite a few young people, due to special arrangements made with their schools. The two hours elapsed in full silence due to the tension of the libretto (by W H Auden and Chester Kallman, after Euripides' tragedy The Bacchae and of the enthralling music; then the audience erupted in a ten minute standing ovation, even though a few old subscribers appeared disgruntled.

A scene from Hans Werner Henze's 'The Bassarids' at Teatro dell'Opera di Roma. Photo © 2015 Yasuko Kageyama. Click on the image for higher resolution

After its Salzburg premiere, at the 1966 Summer Festival, The Bassarids has been seen quite rarely (ie only at English National Opera, Deutsche Oper Berlin, La Scala and in a few other places), mostly because of the gargantuan resources it requires: a huge orchestra (in Rome, the orchestra filled the pit and the first few row boxes), eight soloists, a double chorus and a corps de ballet. Then, the plot is essentially a philosophical-religious discussion between the young King Pentheus (who wants to convert his populace to monotheism) and Dionysus, said to be the God of freedom, pleasure and orgies, even though it is never clear whether he is not like a God turned into a Devil, ie Mephistopheles.

Ladislav Elgr as Dionysus in Hans Werner Henze's 'The Bassarids' at Teatro dell'Opera di Roma. Photo © 2015 Yasuko Kageyama. Click on the image for higher resolution

Dionysus and his followers (including Pentheus' own mother) are expelled from the Kingdom, but the devilish self-proclaimed God returns disguised as a traveler and attracts Pentheus to go with him to the garden of pleasure. In a wild orgy, Pentheus is killed, dismembered and even eaten by Dionysus' crowd. This isn't light stuff for a gala, especially because the central part is a confrontation between Pentheus and Dionysus.

Ladislav Elgr as Dionysus and Russell Braun as Pentheus in Hans Werner Henze's 'The Bassarids' at Teatro dell'Opera di Roma. Photo © 2015 Yasuko Kageyama. Click on the image for higher resolution

As a matter of fact, rather than an opera, The Bassarids is a scenic symphony (like Berlioz's La Damnation de Faust). Conventional operatic forms (arias, duets and ensembles) are embedded in a four movement symphony. The first movement is a sonata where the characters and their groups are defined; the second is a scherzo with a sequence of dances; the third is a slow movement, and the fourth a long theme which grows into the final passacaglia. The score contains all the main elements of twentieth century innovation (including a twelve note row system) on a wide post-Wagnerian platform.

Veronica Simeoni as Agave and Russell Braun as Pentheus in Hans Werner Henze's 'The Bassarids' at Teatro dell'Opera di Roma. Photo © 2015 Yasuko Kageyama. Click on the image for higher resolution

Hungarian Stefan Soltesz is one of the few conductors who can handle such complex orchestral writing (where woodwind and brass have an important role) without covering the voices of the singers. In the Austrian and German performances, The Bassarids was conducted by such excellent musicians as Christoph von Dohnányi and Gerd Albrecht. Soltesz depicted the score's various tints very well (from dramatic to sensual to orgiastic).

A scene from Hans Werner Henze's 'The Bassarids' at Teatro dell'Opera di Roma. Photo © 2015 Yasuko Kageyama. Click on the image for higher resolution

An international vocal cast was on stage, all of a high standard: Ladislav Elgr (Dionysus), Russell Braun (Pentheus), Mark S Doss (Cadmus), Erin Caves ( Tiresias), Andrew Schroeder (Captain of the Royal Guard), Veronica Simeoni (Agave), Sara Hershkowitz (Autonoe) and Sara Fulgoni (Beroe). The long duet between Ladislav Elgr (a tenor with a high tessitura) and baritone Russell Braun was especially effective. Veronica Simeoni, in the rather unpleasant part of a mother devouring her own son, was excellent.

Veronica Simeoni as Agave in Hans Werner Henze's 'The Bassarids' at Teatro dell'Opera di Roma. Photo © 2015 Yasuko Kageyama. Click on the image for higher resolution

In a single set, Mario Martone's stage direction (with sets by Sergio Tramonti and costumes by Ursula Patzak) has brilliant moments but is darker than required, since the score has some very bright and luminous passages.

Copyright © 30 November 2015 Giuseppe Pennisi,
Rome, Italy