Rolando Villazon IS Werther at the Royal Opera House

Werther - Royal Opera House, 5 May 2011

Rolando Villazon made what I think it's fair to call a triumphant post-surgery return to Covent Garden tonight. In the title role of Werther, he displayed no worrying strain or cracks. He once described his voice as a horse that wanted to be ridden by a man - well tonight it was a perfectly-schooled prize dressage pony, with a glossy sheen.

The admirable control came of course with a price. There's some loss of brightness throughout the range, with the result that his sound, which was never fundamentally large anyway, failed to cut through and carry with the power of earlier years. A sometimes bottled tone hinted at capacities kept under leash. Gone too was the reckless bravado that hinted anything might happen. Probably sensing that he was under acute observation, Rolando measured carefully how much he gave, never quite emptying his reserves.

In all, I heard a still-great voice, managed - for perhaps the first time ever - in a thoroughly mature and professional manner. But in the process some of the do-or-die individuality that made Rolando a star in the first place has seeped away. Can he bring it back without risking his instrument again? We'll have to see.

Voice aside, he's retained that appealing blend of utter sincerity and pure ham, and it found a fitting home in the role of the maudlin young poet. Benoît Jacquot's bland production (straight from the shitty French bourgeois crowd-pandering school of traditionalist kitsch) needs someone like Rolando to rescue it from bosom-heaving à la carte gesticulation and bring it to life (not to mention distract from an irritating tinkling fountain - where was Pappano when that was signed off on, I wonder?)

Musically however, this production is superb. When Pappano and the Royal Opera House orchestra are firing on all cylinders, as they were tonight, there's not another opera orchestra in the world that can match them. No matter that Massenet's score isn't the most profound or inventive or his characters are so brittly French.  Pappano rode the emotional undercurrents, the music ebbed and swelled. A couple of times he got so carried away he failed to stem voice-covering volumes, but it hardly mattered. Listen to anything recent at the Met (if you have the opportunity) and you'll realise just how lucky we are with Covent Garden's current constellation.

Sophie Koch did her saintly best as the priggish and unsympathetic Charlotte, and the rest of the beautifully-matched cast included Eri Nakamura as Sophie, Alain Vernhes as Le Bailli and Audun Iversen as Albert. But it was Rolando's evening, and I can only assume that, away from the judgemental glare of the first night audience, he'll grow even more into the role as the run goes on. 

 
 
 
 
 
 

 
 

 
 
 
 
 
 
 
 
 
 

Production photos, above: Catherine Ashmore/Royal Opera House

Curtain call photos, below: intermezzo.typepad.com

 

 

 
 
 
 
 
 

 
 
 
 

 
 

Comments

[Leonie]

I am deliriously happy. Rolando deserves this. And I knew he could do it.

[Leonie]

I am deliriously happy. Rolando has worked very hard; he deserves recognition for his hard work. And there is no one as thrilling as he is on stage, in his interpretations. I only wish I could have seen last night's performance.

[Lucy]

Thanks for the detailed and thoughtful review! It's nice to think I could happily ease back into watching Villazon with interest instead of anxiety. Am loving the sweet curtain call photos of Villazon and Koch.

[Richard Whittington]

I really glad to hear this, it would have been a shame if he had to give up singing. Although based on his presenting skills form What Makes a Great Tenor, he could do that if his voice ever did fail him.

[the phantom]

so glad he was on top form, lets hope its lasts for the entire run.

[Sanna]

Thank you for providing a review so quickly. I am so glad to hear about Rolando's triumphant evening!

[sub opera]

I regret to say that my party of three did not share IM's enthusiasm.

Villazon sounded throaty, woolly, had poor portamento and sounded tentative in the higher passages.

He was also more ham than sincerety - perhaps the fault of the revival director who had him falling on his knees at every opportunity.

His fan club was out in force last night, and I totally accept I was in the minority.

Agree with everything else - the noise from the fountain was ridiculous, but obviously an unwelcome distraction Mr Pappano has consented to.

[DS]

Well I don't see how you can do Werther without a "source limpide", particularly after you've gone to the bother of producing a wall, and the piano and the books in act 3 too...

[Florezfan]

Wonderful wonderful, Rolando. I am so very happy for you and for all your fans.
This night has been a long time coming but must feel the sweeter for that.
I wish I could have been there but I am 4000 miles and a lot of time zones away. I was thinking about you all day, though and wishing you well.
Thank you Intermezzo for the fast review.

[yvette]

I am so pleased and relieved reading you!
Of course he would sound different 'tamed' in a work he knows so well. I am so grateful to him for his own vision of Werther I saw twice in Lyon. You should have seen what he did with Charlotte in his vision of this opera. I cannot wait to see him in Zurich! Thanks so much Intermezzo!

[Alexandra]

Sorry...with all due respect to Senor Villazon's rabid fanbase, there is only one Werther," and his name is Jonas Kaufmann. Cheerio!

[Florezido]

I am so happy to read such positive things about Senor Villazon. He's driven through so any valleys and gorges over the last several years. I hope that he has finally realized that he cannot any longer sing in that "tomorrow be damned" fashion that marked so much of his earlier work. May he continue to thrive and flourish.

[Ida Lopes]

@ Alexandra - I couldn't agree more.

[Simon]

With all respect to Intermezzo's admirably patriotic remark "Listen to anything recent at the Met ... and you'll realise just how lucky we are with Covent Garden's current constellation" - but recently I endured the a very lucklustre evening at CG with Fidelio - split notes in the brass, squawky woodwind playing and numerous dominos by the strings. A week later I was lucky enough to catch the new Die Walkure at the Met with Levine which was one the great musical performances I've experienced in the opera house in the past 20 years (unfortunately not matched by the production). The orchestral playing especially was transcendent. I can only hope that we will hear the like here. But I look forward to Werther next Saturday!

******************************************
Intermezzo replies - I'd agree with you about the quality of the Fidelio - but Pappano didn't conduct it. None of the four performances I recently attended at the Met - including a (treacly and inept) Levine Wozzeck were a patch on Thursday's Werther. Honestly. Nothing to do with patriotism (and Pappano is I think still technically American anyway).

[Chris]

did anyone else hear the stray saxophone?

[martin]

Saw Werther today (Sunday).
Production seems poorer than previously (which is a polite way of saying not great).
Orchestral playing was absolutely excellent - ROH has indeed become a world leading operatic orchestral experience.
Sophie Koch was excellent.
Mr Villazon? Well, my main reaction was one of relief. My partner (she is not an opera goer, and does not know who Villazon is or was, and I did not tell her) was under-whelmed in Acts I and II , but came away from Acts III and IV saying he had a very emotional voice and over - whelmed.
His voice was never big (part of his problem, a la di Stefano and Carreras, both ruining their voices by trying to keep up with the big boys?) and he did not try to make it big. His timbre has returned to being wonderful, although I agree perhaps a little bit more reedy at times than previously.
It was a performance that I suspect most opera voice lovers would more than welcome ; certainly I did.
I too agree that if he marshalls his resources in this manner, we may not have lost Villazon after all.

[m]

Anyone notice how there's no review by Canning in today's Times? I wonder why...

[Manou]

There is a review by Richard Morrison in the Monday Times (online now).

You have to be a subscriber but I could cut and paste if it helps anyone.

Excerpt :

"....there is something very touching about Villazón’s instinctive approach to Goethe’s pathologically melancholic hero, because although he is ostensibly wooing Sophie Koch’s frigid Charlotte, his real appeal for love is clearly directed at us, his audience. Time and again he simply advances down the stage and hurls his heart-on-sleeve emotions and hyperactive hands straight at us, as if this were an arena concert of Neapolitan showstoppers."...

[H. E. Pennypacker]

I attended Werther on Sunday. I agree with earlier comments in that the production is dull, although I liked the final act, the intimacy of that small bedroom on the large dark stage is striking. Pappano and the orchestra were excellent. I can't come up with anything interesting to say about Koch, which probably gives an adequate description of her performance, totally forgettable. I've never heard Villazon on stage before, so I was looking forward to that. But I found his performance problematic. The trouble with Werther is that it's very difficult to like the character unless the singer gives him some dignity in the first two acts, and allows him to descend into desperation only in the last half. Sadly Villazon skips right to the hysterical Werther from the moment he walks on stage, singing it like it's Pagliacci. The wild and repetitive gesticulating which I assume is something of a trademark for him doesn't help, I find it distracting. Having said that, I was impressed by him in the death scene, perhaps because the director forces him to stay still, encouraging him to give us more nuanced vocal acting. I hope I get to hear him in Italian repertory, I'm sure his brand of singing is thrilling there.

[mbn]

But it was Canning who most unequivocally declared Villazon's career over, so you'd think he'd have something to say about this. Or at least a little journalistic responsibility.

[simon]

Can I assume that the two overlong 25 minute intervals either side of the 45 minute and 37 minute acts is more to do with resting Villazon's vocal cords than ROH bar receipts? Good job he isn't relying on British rail to get him home after the show unlike some of us!

[Jon]

I too was there on Sunday and enjoyed it very much. I've seen Werther several times over the years in at least four different productions, and this was probably the best performance of the opera I've seen. I thought that both Villazon and Koch were excellent while the work of the Orchestra under Pappano was peerless. I also like the production much more than many - it seems to be to remain true to the opera while providing a fine setting for the singers' performances. The Act III set is particularly succesful and the 'tracking shot' to open Act IV works very well.

Incidentally, unlike on the first night, the tinkling fountain (which was clearly amplified) was turned off as soon as the overture started.

[Deirdre]

I find it troublesome that the absolutely italian/spanish zarzuela-style of singing is acceptable in a french lyric piece. It totally destroys the character and the truthfullness of the piece, we are talking about music as an art form here, not as a template for whatever inner longings we have as individuals to shout out our own emotions. An art form requires disciplin and craft, not impulsive improvisation

[Dr. and Mrs. Enrique Nagid-Junco]

Mr. Villazon, You're back!, definetely the best tenor voice of this generation. To compare you with other tenors is a total waste of time.
There is only one Villazon, like there was only one Callas.

[Nikolaus Vogel]

Deidre - presumably most of the people present were so relieved that he could string the notes together more or less in tune and without cracking to bother about niceties of style. If you listen to the video Intermezzo has obligingly posted you will hear a Werther who thinks the music should sound like Cilea or Mascagni. Kaufmann and Beczala sing this rep far more stylishly with far less recourse to the little Italianate yelps and sobs that RV deems appropriate. But we are probably in a minority here. I can't understand why the RO hasn't cast Alagna as Werther. Maybe he doesn't sing it anymore.....

[martin]

oh dear oh dear.
Somewhere between
(i) the folk who just want to worship Mr Villazon
and
(ii) the folk who decide they are the sole arbiters of cultural artistic taste, and are the only ones who know how a given work MUST be performed stylistically or else it is a sacrilege of unspeakable proportions;

live the sane human beings.
'twas ever thus.

[Leonie]

Interesting conversation about style. Can Werther be classified as "realismo"? The music is melodramatic, which is a hallmark. I should take a look at Goethe's original.

The main problem with the opera may be that there is no exposition. It's devilishly hard to do it well-- you've got to have it emerge out of the action. The librettist apparently didn't want to struggle with it. Hence the feeling that the character progresses too rapidly to despair. Maybe?

And I'll add to the conversation about the orchestra at the Met. I heard "Lucia," "Armida" and "Iphegenie en Tauride" this winter. Gluck's music (paradoxically, because it's the farthest from us historically) was the best. My impression is that although the players are skilled, they don't play together well. There has always been a problem with lyricism at the Met. The more martial the music, the better it is. I've only heard one Wagner at the Met. Hmm, I've probably just incriminated myself. My country is unfortunately a violent one.

*****************************************************
Intermezzo replies - thanks Leonie - I think your comment about the Met's musicians not playing together well despite their skill is spot on, and it's been exacerbated by Levine's recent absences.

[Liane]

I was recently at the Met to see Die Walkuere and cannot speak highly enough of the whole performance. Everyone was
especially, as expected, enthused by Kaufmann's Siegmund. He absolutely sounded and looked the part and according to some critics the audience fell in love with him.

As far as Werther is concerned I can only say that nobody could possibly fully understand Goethe unless they are German and no other singer could get at any time near to the perfect understanding and performance of this character than Kaufmann.I have read most critics in France and Austria and they almost unanimously agree that he IS Werther.And not much gesticulation with him. He does not need it.

As for Pappano I agree with everything everbody says him about him.He his absolutely the greatest and also LOVE HIM!

[H. E. Pennypacker]

N. Vogel: I too would have loved to see Alagna in this production, but don't know if he still sings it. A quick look at his future engagements shows a lot of French roles, so I guess he might.

Leonie: I think you're right about the problem with Werther's libretto. That's why it takes a thoughtful singer to make the most of the first half of the opera, the librettist doesn't do the tenor many favours there.

Martin: so there are people who hold an opinion and people who don't, and only the latter are "sane"? I don't find this a particularly interesting or useful idea.

[opm songs]

I wish he could sing at my wedding!

[Miriam]

@ Simon re the intervals: There have always been two in this production but when I saw it in 2004 they started at 7pm so we got out by 10.10pm which IMO was much better as I also have a long way to go home on the train afterwards!

I was at the performance last night and enjoyed it very much, Koch was really excellent and there were a lot of good performances in the supporting roles too.

[DS]

"nobody could possibly fully understand Goethe unless they are German".. including Massenet, I suppose. To start by stating the obvious, the opera Werther is not Goethe, its an entirely diferent art form. Even (German)Kaufmann pronounces the opera as "Vair-taire" (i.e. in that awful french pronounciation that you can sing but sure as hell not speak).

I have been lucky enough to see both Kaufmann and Villazon in this production and both bring things to strongly recommend in this part, notwithstanding "little Italianate yelps and sobs" from both singers (which I quite like).

As for the 'latin' voice in (French) opera Werther, I don't see the problem. Sure to sing it like Wagner is interesting, but if you look at the recordings of Werther you get Kraus, Domingo & Carreras... It has always been one for the 'italianate' singer. Also seeing as Kaufmann is constantly praised for his 'Italianate' sound anyway, I'm not really understanding the argument here at all.

[Adrian Sells]

Also saw it last night and was more than pleased.
Of all the admirers above, I think I agree with Jon on 9 May completely, including the point about the production and sets: I'm afraid conceptual subtlety is all too often lost on many people. Where the direction fell down was in the guidance of some of the "acting", but is that Jacquot's fault or the revival director?

[Veit]

Villazon sang well again last night (Wed). I hesitate to mention some slight losses of vocal support when sining piano but agree that the hand gestures are excessive and distracting. Overall there was not enough to rescue this carboard opera from its cardboard characters and its corrugated construction.

[Taskmaster]

Sorry that there is a confusion here, obviously I was not clear.

A singer in opera communicates with sound, and words, certainly. The production of the sound can be more or less perfect, Villazon has an unusually thrilling voice, but he has mismanaged it for a decade or more. A talent like that usually trains less technique, especially if given to impulsive escapades and self immolating performance antics. This has helped him in the beginning of his career and destroyed his longevity.

Now, the vocal character of a voice, whether italianate or german, has more to do with technique and native language than other matters. In Villazons case it is the obvious Spanish heritage that affects his vocal sound and causes him to have the vocal character that he does. This has nothing - absolutely nothing to do with style or understanding of the music. Kaufman - who has a far far better and disciplined technique, perhaps reminiscent of a lighter version of Martinucci - is less affected by his native tongue, because of his better technique. This still doesn't automatically make anyone a better musician.

However, all this has nothing to do with musicality, understanding of the prosody of the language, the musical drama or the written directions of the composer, as well as the musical tradition of the piece and the music.

Let's exaggerate to make a point; to sing a donizetti aria like a modern R&B singer with several wailings and falsetto yelps, or phrase a mozart opera just as if you were singing a gospel, that would be funny or weird. The expression, the reality of the piece would disappear - the possibilites of the character expressions would be in some ways wasted. The same when you hear London symphony Orchestra playing a modern pop song, it becomes static, slightly dead and exceedingly pompous and impersonal.

Michael Bolton famously sang, and impressive at that! a whole recording of operatic arias. It was impressive, yes, but it was michael bolton, not the character he was playing - he is too limited, his instrument and his musicality is far too based on talent alone, and his skilled is focused on pop, not classic opera.

I don't deny that it is still interesting, fun and thrilling to hear him sing those incredibly difficult arias that takes years of training to even begin to try and sing.

The same goes for many of our present day opera stars. Impressive, thrilling, yes. But if we are talking about one of the most difficult and exciting art forms that ever sprang out of europe, then we are talking about art as an art, and then we allow ourselves to become far more critical and demanding as a listener.

It should be allowed! We should be able to seek perfection and revel in the encompassing and multi-leveled artistry of someone like Kaufmann, Damrau, Furlanetto and many many others. Villazon.. he is great, for sure, and so are hundreds of others on this planet. But if we are talking about the elite art, many today and yesterday surpass him by far. But the thrill of talent is great, and sometimes that's enough. Especially if we decide not to care about the deeper values of vocal and musical culture. And that's ok!