Neeme Jarvi

A tardy roundup 1 of 2: Carmen, Scriabin and a cut-down Ring

I’m supposed to be doing this as much for my benefit – to aid reflection – as for any reader.  I seem to be losing momentum.  Onwards…  there are a good couple of events worthy of an update.

In the vain hope that anyone is following, we last parted just as Carmen was looming on the horizon.  The production was the same reasonably picturesque but not terribly efficient affair it had been in previous incarnations.  Horses and donkeys were paraded; people abseiled in and out of the hideout; hoards of children did their thing in Act 1; and people made a great play of stomping about all over the tables at Lilas Pastia’s (word to the wise: if eating there, don’t scoop up food that falls off your plate, you don’t know who was last tramping, dancing or gyrating on that very spot, and I don’t think Lilas Pastia has a hygiene certificate).  Oh, and there was that naked-torso gymnast ostensibly there to entertain the crowds in Act 3, but also providing a pleasing diversion for us in our Balcony box…

I thought Alagna had more heft and body to his voice than I remember him having.  I came away quite impressed.  Maybe the hoo-ha with his wife has given him renewed vigour, but my recollections of him live are of a lighter voice.  I agree with the various people that have characterised Elina Garança’s Carmen as rather too shiny and glossy.  She did sound fabulous, and she must have been covered in bruises by the end of the run from being thrown on the floor so often in Act 3.  And whilst that was a tribute to her engagement in the drama, I did miss that earthy, vulgar, gritty tang that an outstanding Carmen has.  She was also unfortunate in that her predecessor (Anna Caterina Antonacci) could actually clack her own castanets, rather than passing up the honours to a man in a bow tie and DJ in the orchestra pit – I didn’t see his hips move once.  None of the others made quite that much of an impression on me.  I did so want to like Ildebrando D’Arcangelo’s Escamillio, but he was also a bit too mild-mannered, lacking that last ounce of heft which would have stood the character out from the crowd.  Ah well, it was an enjoyable romp.

At the Royal Festival Hall on Wednesday, a most curious confection was served up: Henk de Vlieger’s ‘Orchestral Adventure’ synthesised from the great orchestral moments of Wagner’s Ring.  The concert started with an interesting (and hitherto unknown to me) Scriabin Piano Concerto, which I couldn’t quite take in and follow but it was nevertheless a marker to come back to.  It sounded on first hearing like Rachmaninov shot through with lemon juice: rich, but with just a little more acid.  I will return… Yevgeny Sudbin was the pianist and I won’t attempt to comment – it’s not my particular study so I wouldn’t add anything insightful.  He played a Scriabin etude (so I’m told…) which was actually received with a stillness which I then realised had been missing from the concerto.  Interesting.

The Ring, reduced to a succession of bleeding chunks sewn together like a Frankenstein creation, was rollicking good fun.  It progressed, sometimes seamlessly, sometimes rather jarringly, from the Rhine, up to the Gods, down to Nibelheim, then back on up to Valhalla, skipped all of Act 1 of Walkure, flitted past the fight scene, then to the Ride and off to the magic fire, into idyllic Siegfried territory, via the dragon-slaying back to the fiery rock, thence a trip down the Rhine, off to the funeral and finally the great conflagration and vision of a new world.  A delight from beginning to end.  It would be so easy to be sniffy, but I can’t.  I thoroughly enjoyed it.  I had fleeting images of various Ring productions in my mind (I tried to banish the Mariinsky debacle), but equally I could just sit back and revel in the music free of the (inevitable) distractions.  A very worthy endeavour, and I am pleased to report being vindicated in that view by John Deathridge, whose pre-performance talk gave it a seal of approval, and invoked the shade of Wagner for a similar endorsement.  Neeme Järvi injected drama into the Royal Philharmonic and, overlooking some slightly off horns at some very exposed moments, gave the piece an impressive outing.