OperaNotes Review
January 6, 2004
by Charlene Frank
Werther
Music: Jules Massenet
Libretto: Édouard Blau, Paul Millier and Georges
Hartmann,
based on the novel Die Leiden des Jugen Werthers by
Goethe
Conductor: Jacques Lacombe
Set & Costume Designer: Rodolf Heinrich
Stage Director: John Cox
Cast:
Werther: Roberto Alagna
Charlotte: Vesselina Kasarova
Johann: LeRoy Lehr
Schmidt: Ronald Naldi
Sophie: Lyubov Petrova
Bruhlmann: Robert Maher
Kathchen: Alexandra Newland
Albert: Christopher Schaldenbrand
The Baliff: Paul Plishka
Another opera at the Met done as opera should be done. I'm
feeling lucky! Good staging, and the best talent cast in roles
that fit them beautifully.
Massenet, most well known for Manon, had a difficult time
getting Werther off the ground. Werther, based on Goethe's Die
Leiden des Jugen Werthers (The Sorrows of Young Werther) was
rejected in 1887 by the Opéra-Comique director Léon Carvalho as
too depressing. Massenet tried again in 1889, and met with
another rejection. With Manon's success in Vienna in 1890, it
was time for a new Massenet Opera. Werther finally had its
chance. It premiered in Paris in 1893, and was not a giant
success. It has taken time for this opera to gain it's place.
Werther now rivals Manon for Massenet's best.
I must admit, I went to see Werther with negative feelings about
Roberto Alagna. All that 4th tenor stuff in the 1990's, that was
pushing it. Well, it wasn't only Roberto's "people" who pushed
it. Everyone had been (and still is) looking for the next great
tenor so desperately that when he and Jose Cura debuted, all
hopes were pinned on them too quickly. Then all the overblown
publicity about his wedding! It just got too be too much hype.
Add all that to the fact that he and his wife said they would
perform in the September 11th benefit concert in 2001, and they
cancelled, well, that made lots of New Yorkers angry. OK, now
that's off my chest. It is over and forgotten because WOW, the
man can sing, really sing. Forget the hype Roberto, you don't
need it. You may not be the next Pavarotti or Domingo, or you
may be, who knows. But you do quite well being Roberto Alagna!
Just please, be careful in the death scene, seeing you fall to
the floor that way even hurt ME and I was in a comfortable seat
in the orchestra!
This role was excellent for Mr. Alagna. He was perfect as the
self-absorbed Werther. He was in love and nothing else mattered;
not friendship, not the needs of the woman with whom he was in
love, just himself. One could have felt sorry for the
heartbroken young man if only he wasn't so self-absorbed, but he
was, and Alagna showed that well. But the most exciting parts
were his high notes. They were full and strong. They never
missed. He was who everyone went to see, and none went home
disappointed.
Mezzo-soprano Vesselina Kasarova was excellent as Charlotte, and
her warm voice was wonderfully suited for this role. Lyric
soprano Lyubov Petrova was a great fit for Charlotte's younger
sister Sophie. Though Christopher Schaldenbrand was not too
exciting in the role of Albert, he played the part of the kind
and generous husband and friend quite well. He is a strong
baritone, but not one that stays with me after the curtain goes
down.
Fellow New Yorker and opera lover, Roy Innis told me that he
tests the tenors by sitting up high in the Met. Can they reach
him? Sure they can sound good in the front, but what about way
up there? He sat "way up there" to test Roberto Alagna's voice.
Was it the real thing? Yes, it was. He made it to the heights.
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