In some of my previous reviews of the other productions of this series I said that Zaide/Adama was one of the let-downs of the Mozart 22 series. I think a lot to do with it was that I didn't care all that much for the opera. That said, I decided to give the production a second look, thinking that I was probably being unfair on the opera. Second time it was a little better, but my reaction was still rather indifferent.
Zaide does have some pleasant enough and tuneful melodies but neither are among Mozart's best in my opinion like the Commendatore scene in Don Giovanni, Queen of the Night's aria in Die Zauberflote, Fuor Del Mar in Idomeneo, Ha Wie Will Ich Triumphieren in Die Entfuhrung Aus Dem Serail and especially Soave Sia Il Vento in Cosi Fan Tutte. But I just don't care for the story, it seems like an older version of Entfuhrung except not as interesting in its themes or as focused in the comedic and dramatic elements, and it feels incomplete also.
In regards to the production, the musical side is impeccable. Mojca Erdmann is a warm and moving presence, and her voice is ideal for Mozart, agile and evenly produced. Topi Lehtipuu, a great Don Ferrando, impresses in his beautiful lyrical voice, clear diction and secure technique as well as his appealing personality. John Mark Ainsley is suitably Imperial Sultan, and when the production requires him to be violent he doesn't hold back. Johan Reuter, in the role of Allazim that is much more suited to his voice than Wotan(which he sang in the Copenhagen Rheingold), is very moving, and while Osmin here is not as interesting as the Osmin in Entfuhrung Renato Girolami wastes no time in making the character unsympathetic. The orchestral playing is beautiful and stylish and the conducting is sympathetic and not too broad.
But I didn't care for the production very much. The settings are drab and the props intended to be obstacles for the characters but also succeeded on looking as though they were obstacles to the singers. I have seen weirder costumes but I just didn't get what time period they were meant to be part of. The stage direction is not as bad as the Salzburg Ascanio in Alba and Die Entfuhrung Aus Dem Serail, but I did feel as though it did underscore the protagonists too much. The Sultan and Allazim's reaction to Zaide and Gomatz's attempts is taken to extremes and was very unsubtle to watch. The giant heads were not menacing enough for me actually.
Adama is coupled with Zaide, and proves to be an interesting contrast. It is not an opera that is going to be among my favourites or one I'd see much again, with a score I did find rather shrill and fragmented too often, but I did find the story, which is also a story of forbidden love, moved me more than the one for Zaide. The costumes and settings are a little more appealing than Zaide, though the staging comes across as too avant-garde, which didn't really fit with the story. While others may be moved by the film of the everyday life and violence in Israel and Palestine I found it beat me around the head and preached to me too much.
The orchestral playing does what it can with the score. The music as I've said is not to my taste but the orchestra and authoritative conducting do make a noble stab at it. The singing is very good, Noa Frenkel and Yaron Windmüller especially give poignant performances, while Andreas Fischer is suitably firm as the father, Paul Lorengar dances gracefully and Bernd Grawert does well in the acting role.
All in all, a little better on re-watch but at best my feelings were very mixed. Wonderful singing, but the production values and staging as well as the music for Adama didn't do much for me. 5/10 Bethany Cox
Zaide does have some pleasant enough and tuneful melodies but neither are among Mozart's best in my opinion like the Commendatore scene in Don Giovanni, Queen of the Night's aria in Die Zauberflote, Fuor Del Mar in Idomeneo, Ha Wie Will Ich Triumphieren in Die Entfuhrung Aus Dem Serail and especially Soave Sia Il Vento in Cosi Fan Tutte. But I just don't care for the story, it seems like an older version of Entfuhrung except not as interesting in its themes or as focused in the comedic and dramatic elements, and it feels incomplete also.
In regards to the production, the musical side is impeccable. Mojca Erdmann is a warm and moving presence, and her voice is ideal for Mozart, agile and evenly produced. Topi Lehtipuu, a great Don Ferrando, impresses in his beautiful lyrical voice, clear diction and secure technique as well as his appealing personality. John Mark Ainsley is suitably Imperial Sultan, and when the production requires him to be violent he doesn't hold back. Johan Reuter, in the role of Allazim that is much more suited to his voice than Wotan(which he sang in the Copenhagen Rheingold), is very moving, and while Osmin here is not as interesting as the Osmin in Entfuhrung Renato Girolami wastes no time in making the character unsympathetic. The orchestral playing is beautiful and stylish and the conducting is sympathetic and not too broad.
But I didn't care for the production very much. The settings are drab and the props intended to be obstacles for the characters but also succeeded on looking as though they were obstacles to the singers. I have seen weirder costumes but I just didn't get what time period they were meant to be part of. The stage direction is not as bad as the Salzburg Ascanio in Alba and Die Entfuhrung Aus Dem Serail, but I did feel as though it did underscore the protagonists too much. The Sultan and Allazim's reaction to Zaide and Gomatz's attempts is taken to extremes and was very unsubtle to watch. The giant heads were not menacing enough for me actually.
Adama is coupled with Zaide, and proves to be an interesting contrast. It is not an opera that is going to be among my favourites or one I'd see much again, with a score I did find rather shrill and fragmented too often, but I did find the story, which is also a story of forbidden love, moved me more than the one for Zaide. The costumes and settings are a little more appealing than Zaide, though the staging comes across as too avant-garde, which didn't really fit with the story. While others may be moved by the film of the everyday life and violence in Israel and Palestine I found it beat me around the head and preached to me too much.
The orchestral playing does what it can with the score. The music as I've said is not to my taste but the orchestra and authoritative conducting do make a noble stab at it. The singing is very good, Noa Frenkel and Yaron Windmüller especially give poignant performances, while Andreas Fischer is suitably firm as the father, Paul Lorengar dances gracefully and Bernd Grawert does well in the acting role.
All in all, a little better on re-watch but at best my feelings were very mixed. Wonderful singing, but the production values and staging as well as the music for Adama didn't do much for me. 5/10 Bethany Cox
