Nuns and chisellers

The French word 'ciseleur' is preferable, and, embracing as it does 'engraver', gives a better sense of the guild to which that master goldsmith and fantasist Benvenuto Cellini belonged. But the point here is to contrast the feminine strength of Poulenc's Dialogues des Carmélites with the testosterone-driven wonders of Berlioz's liveliest opera - indeed, possibly the liveliest opera in the repertoire - which I had the good fortune to see on consecutive nights last week (Royal Opera images by Stephen Cummiskey; ENO photos by Richard Hubert Smith).

We've spent seven weeks apiece on these operas in my City Lit classes, and I've never been more absorbed (equally, certainly, but not more). I wish I could say the same about one of the two productions. By the way, for Cellini I used the only DVD so far, from Salzburg - great idea with the robots, spirited performances from Maija Kovaleska and Laurent Naouri especially, don't mind the feeling of Broadway show, but there's a general sense of trying too hard - and all the recordings. The first Sir Col with Gedda is peerless, though interesting to hear alternatives on the recent John Nelson edition.

Let's get the reservations out of the way first. Terry Gilliam's return to Berlioz is a bit of a mess in its first half. I don't think he's worked on the crucial Personenregie: we hardly give a damn about Benvenuto's amatory escapade, and poor Corinne Winters, though she sings reliably throughout, can't make much of Teresa in a bad blonde wig (though I don't think the aria is anything like as animated in detail as Nicole Cabell's marvellous Cardiff prizewinning performance).

There's always too much business going on, too many scene changes happening while the set pieces are winding up. The should-be-funny guys, father Balducci (Pavlo Hunka) and comic suitor Fierramosca (Nicholas Pallesen), just aren't; the Roman carnival should be disciplined but is just a lot of chaotic milling around, albeit colourful.

Part (Act) Two is so much better, and soon lifted me from my interval despondency. Edward Gardner's conducting, which had been much too heavy and exaggerated for any needlepoint comedy - the featherlight trio wasn't helped by having the singers too far away, and too high up - came into its own for weightier matters, and even Charles Hart's arch translation brought some unexpected pleasures. It beats me how those commenters on Alexandra Coghlan's Arts Desk review could advise us to leave at the interval ('the party's over'). What do they want, just more froth? Because while the only number in Berlioz's score which is marginally less involving than the rest, the second duet for Cellini and Teresa, is cut, there are a string of beauties: the duet for Teresa and Ascanio against the monk's chanting, the great ensemble with the Pope - how I loved both Gilliam's high camp for his entry

and Willard White in fine voice frou-frouing around, even getting a bit nasty when his statue looks as if it might elude him

- and then the best set-pieces of the evening: the lovely rondo for Ascanio sung perfectly by Paula Murrihy, the only singer not to put a foot wrong throughout and a real Octavian in waiting (wish there was more of her in the picture selection than just a supporting role in this image)

and the wistful 'wish I were a country man' solo for Cellini.

Michael Spyres sounds surprisingly hefty for the Rossini tenor his biography suggests, and can't quite maneouvre around the insane heights, but he carried this off well, and Gilliam let him do it in peace. The forging of the Perseus was, I reckon, done as well as it could be on stage, even if I heard Michael Palin in the audience as we left wryly refusing to tell someone what hadn't gone quite according to plan. Anyway, the point is that I left exhilarated, when I might have left precipitately deeply disappointed.

No major reservations about the arrival of the now-classic Robert Carsen Dialogues des Carmelites at Covent Garden (even bigger audience star-check: within seconds on exiting, I saw Jonas Kaufmann, Fiona Shaw and Deborah Warner). Carsen's painterly instincts for a nearly bare stage informed by evocative lighting brought us one stunning, apt tableau after another, none more haunting than the body language and grouping of the nuns in prison awaiting their sentence. There doesn't seem to be a better photo of that than this one.

I think for me this was the most choking moment of all in an emotional evening, so quietly and authoritatively did the strange-toned but always compelling Emma Bell deliver Madame Lidoine's words of wisdom. Here she is earlier in the action.

Nobody was found wanting. Sally Matthews' is an odd technique, sometimes cloudy, but she sent the sound up top with emotional truthfulness, fell to her knees very eloquently and conveyed the sense of Bernanosian limitless fear superbly. How we jumped when she dropped and broke the statue of the Infant Jesus, even if we knew it was coming.

Deborah Polaski's First Prioress may not have gone through her death agonies with as much harrowing realism as the peerless Anja Silja on the DVD of the same production from La Scala, but she sang the role with far more refinement and dynamic variation.

Anna Prohaska almost over-coloured Soeur Constance but she's a precious new talent on the scene, and Sophie Koch redeemed her baffling Octavian here some years back with a compelling and ultimately touching Mere Marie.

Equal star to Bell for me was Yann Beuron, such a powerful lyric tenor and an extremely sympathetic actor, as Blanche's desperate brother

and he was well offset in the first scene by Thomas Allen's baffled father. The final scene, of course, had both of us trying to restrain ourselves from sobbing out loud

and the lady next to us, come to see it for a second time because her two sons were in the people's ensemble (which she said had raised a few hackles with Equity, but they certainly added another dimension)

This was a redemption, too, for Simon Rattle: one of the best things I've heard him do recently, though come to think of it his Pelleas in the same house was very fine too, and it helps to have conducted that vital inspiration for Poulenc first. The chop-change style, modelled sometimes, I feel, on Prokofiev's mosaic operatic technique, suits him well; the extremes of dynamics were striking throughout and having the harp in a box made those great upbeat swooshes clutch at the heart. Slightly disconcerted by the brass vibrato which sometimes made it sound like a Broadway show (ditto the overamplified guillotine). But otherwise, nothing but praise for the dedication of the players.

It's been an amazing operatic couple of weeks - all this, Feuersnot in Dresden, the shattering and surprising Owen Wingrave at Aldeburgh on my birthday - an action-packed occasion I hope to chronicle here - a meeting with the galvanizing Kristine Opolais and her first night as Manon Lescaut yesterday with Jonas Kaufmann and Antonio Pappano, all three just about transcending the vague sterilities of Jonathan Kent's production. Here's a photo I couldn't fit into the review from Bill Cooper.

Both Benvenuto Cellini and Manon Lescaut have the benefit of livescreenings around the world (Cellini, I note, got the HD treatment last night; Manon is due soon). Dialogues des Carmélites did not, but at least an earlier incarnation of the Carsen production, as I've mentioned above with reference to Silja, provides a different document. Much more troubling is the removal of Adams' challenging, ambiguous The Death of Klinghoffer from the Metropolitan Opera's HD schedule. This blog post, linked originally by my somewhat erstwhile blog friend Jon Dryden Taylor, expresses everything I feel very succinctly (albeit from a different perspective, that of a 'left-wing, liberal Jew')*.

We still have half a class left to go on Carmelites: I can't leave these nuns, or their various authors alone. And that means I'm skimping on my beloved Ariadne. But this has been an awfully big adventure through a score which, as with Cellini, I didn't know in detail. Grim times ahead, sadly, for the City Lit: a bombshell fell this week. But I need to get my facts together before I report and protest. I leave you with an astonishing film, courtesy of our Australian wanderer, of Joan Sutherland in a role I had no idea she'd taken on beyond the Royal Opera premiere, where Poulenc apparently adapted on hearing her. The diction up top is mush, as usual, but what authority, what passion in the voice.

Wonders will never cease - there's also the 1958 recording of the same scene at Covent Garden, conducted by Kubelik. Of interest if only to compare the change in vocal weight over decades.

*19/6 Further light in the darkness in some of John Adams's responses quoted here.

Parsifal all autumn, Fidelio anew

So I am now leading my not-so-secret band of 30 acolytes at the City Lit through ten classes on what Mark Wigglesworth recently declared in an email to be 'the greatest opera by the greatest composer' (he has promised us a visit). Well, it depends what you want, but after three decades' acquaintance I'm certainly more open than I used to be to the possibility that Wagner's Parsifal is the most spiritual. And I had better keep liking it because in early December I record a Building a Library for Radio 3's CD Review on this of all works. Not my choice, and a very surprising offer, but under the circumstances - and soulfully primed by the incredible Proms performance - I can only rejoice.

Ask me if I still do by 14 December, the broadcast date. But I welcome the journey ahead, be it strewn with thorns as well as roses. With the third class looming next Monday, we've still only got to the end of the Prelude after so much setting up, so many glances back at Tannhäuser, Lohengrin and Tristan. Preparing ahead to Gurnemanz's long opening narrative, I was surprised - using René Pape with Gergiev conducting Mariinsky forces in glorious sound - to discover that what had felt like the first ten minutes of the opera proper had lasted nearly half an hour.

The famous 'time becomes space' syndrome is largely due, I realised, to the special setting-up effect of the Prelude's vasts. I liked what I heard of the Mariinsky recording - past achievements of the increasingly alarming Ossetian are permitted here, live events are not - and of Marek Janowski's performance. But I stick unyieldingly, for sound and sense, to Bruno Walter's concert version with the Columbia Symphony Orchestra. It isn't on YouTube, and I know that background silence should really be an integral part of the experience, but I'm fascinated by Walter's 1927 version with the Royal Philharmonic, not least for the strings' extraordinary use of portamento.

Now we at last tackle the sources. My Penguin copy of Wolfram von Eschenbach's Parzival is full of significant markers sticking out of the book, yet I have no memory of having read the whole. It's so funny and quaint and ungainly, reminding me why Cervantes made fun of such romances with their silly names and aims in one of my two favourite books of all time, War and Peace being the other (Pope Francis, whose demi-Tutuesque promise I must reflect in another post, also cites Don Quixote as his No. 1 and among films he loves La Strada, Roma, città aperta and The Leopard. No poker-faced prelate he).

I've also ordered up the Chrétien de Troyes version which inspired Wolfram, so bathing in chivalry will be obligatory from now on. As to interpretations of the opera, we've only just begun.

After unhappy experiences with Calixto Bieito's productions of Don Giovanni and Un ballo in maschera at English National Operas, his Parsifal was not one I thought I wanted to see. But then last season's Carmen, for all its flaws, changed my mind. And in the same way his Fidelio is touched with genuine vision as it gathers weight.

Three things drove me to want to see the ENO takeover of the Bavarian State Opera production despite warnings: Ed Gardner's conducting, especially in the Leonore No. 3 Overture which I haven't heard live for so long, Emma Bell's Leonora and the intelligence that a string quartet descends in cages to play the slow movement from Beethoven's Op. 132 Quartet - shorn of the bouncy bits; no one ever seems to jump for genuine joy in Bieito's world - after 'O namenlose Freude'. All production photos for ENO by Tristram Kenton.

This last was more compelling that I'd anticipated - indeed, moving to tears as a symbol not just of the quiet intimacy between husband and wife which the noisy duet can't achieve but also of freedom in chains: physically the players are contained, but the incredible sounds the Heath Quartet achieve reach out as the music of the spheres. It's actually the first time I've ever wept in a late Beethoven quartet movement, and the intimacy of the couple who haven't been able to express themselves properly in song alone, at least while it holds, adds to the sense of painfully private emotion.

At first the variously lit glass and steel labyrinth of Rebecca Ringst's design seems like an overwhelming concept that dwarfs the singers. Bieito seems to have no idea what to do with the unwanted characters of Marzelline and Jaquino (poor Sarah Tynan is just left to despair all over the place, with, what is it, red lipstick or blood smeared around her mouth for no intelligible reason). James Cresswell's Rocco animates the space with a well-projected bass, Philip Horst deflates it again as a woofy, self-harming Pizarro. David Pountney's English translation is banal and sounds so old-fashioned.

Yet as usual in the work, if you've got a great Leonora, everything soars upwards from 'Abscheulicher!' onwards. Emma Bell has an odd technique, a rather hollow choral-mezzo-ish sound at times, a little like Kathryn Harries used to sound with a similar mixture of hits and frays in the totally different voice of the upper register, but she projects the text with such urgency that you're won over. At times it truly is heroic. And the Prisoners' Chorus works with the voices coming at you from all levels at the front of stage, Leonora distributing photographs of her disappeared husband. This I liked.

Everything comes down to ground level for the dungeon scene. The labyrinth flips to suggest that we're heading into the depths of the earth. Perhaps it was this that allegedly prompted Gardner to throw in the towel, only to be held to his contract (a ruckus confirmed by him, again allegedly, in a pre-performance talk). Maybe a compromise was reached, for the creaking happens before the Act 2 Prelude, not during it. Last night we had a second Florestan in the absence of Stuart Skelton (pictured here), Bryan Register, a bright but genuine heroic tenor who just made the ridiculously strenuous vision music. Lovely line in the trio; not much of an actor.

Still, it all flowed, despite inept attempts at applause. A weakness, Bieito's attempt to get the singers to declaim portions of eloquent texts by Borges and Cormac McCarthy when these would have been better amplified or video-projected, had dwindled; the music took over, Gardner always lucid and keenly springing. Leonora's acid attack on Pizarro got round the usual awkwardness of a too-long freeze at the trumpet call.

The 'Heilige Dankgesang' remained the höhepunkt for me: why can't we hear the Heath Quartet's Tippett/Bartok series in the UK? Nor was the ambiguous parade-ground scene the mess I'd read about: Roland Wood's Joker-Fernando had his moment, the open-ended suggestion of government-forged manacles of a different sort after supposed liberation worked well. The blank cards with 'free' scrawled on some of them offered a symmetry to the 'disappeared' photos of the First Act, just as the quiet of the quartet echoed the only still point of Act One, the celebrated chorus. This is the kind of joining-up I always love about a more consistent genius of the stage, Richard Jones.

How often have I seen this opera fail - at Covent Garden, here at ENO under Graham Vick - and yet Bieito really had something to say at times, and said it unforgettably. Kudos. And who knows,  I may end up enjoying the Christopher Alden Fledermaus more than expected, though I'm not going to see it until after my pre-performance chat with Christopher Cook next Wednesday; much as I love the froth on CD, at least the Boskovsky and Carlos Kleiber sets, it has NEVER worked on stage for me and I don't want to slam the prison door decisively shut before I speak.

STOP PRESS (5/10) or rather something that slipped my mind: I'm talking on Mahler and Opera tomorrow (Sunday 6 October) for the Gustav Mahler Society of the UK at the airy, attractive Austrian Cultural Forum in Knightsbridge, 11-4. I'm interesting myself in unexpected areas of the subject, so I hope I can communicate that. Full details on the Mahler Society website here.