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OperaNotes Review
Metropolitan Opera House
February 11, 2004
By Charlene Frank
The Queen of Spades
(Pique Dame)
based on the story by Alexander Pushkin
Music: Piotr Ilyich Tchaikovsky
Conductor:
Vladimir Jurowski
Libretto: Modest Tchaikovsky
Production: Elijah Moshinsky
Set and Costume Designer: Mark Thompson
Stage Director: Peter McClintock
Cast:
Ghermann: Placido Domingo
Lisa: Katarina Dalayman
Count Tomsky: Nikolai Putilin
Prince Yeletsky:
Vladimir Chernov
The Countess: Felicity Palmer
Sourin: Julien Robbins
I was in the 6th row and because of the ridiculous frame around the stage I couldn't half of what was going on. I was not happy at all. If I didn't want to see the stage I would have stayed home and waited until Saturday to listen to the broadcast on the radio. That was a big problem, luckily it was the only big problem. The little problem was the squeaky floor, but that was really only a distraction. Having given you the worst, let me also give you the best which was in the beginning of the 2nd act. The curtain rose and the audience cheered. The black and white costumes were truly beautiful and the entire set was truly beautiful.
It is hard to believe that Piotr Ilyich Tchaikovsky wasn't born obsessed with music. Such genius unrealized even by Tchaikovsky himself until his early 20's is not how we imagine the life of such a prolific artist. But he wasn't captivated at all by music until he was about 21 years old. At that point in dove in. More recognizable throughout the world for his excellence in symphonic work, Tchaikovsky also wrote nine operas, two of which are hitting a new stride on world stages in recent years: Eugene Onegin and Pique Dame. Pique Dame was his eighth opera, making it's world premier in St. Petersburg, Russia in 1890, and its not too well loved US premier at the Metropolitan Opera in 1910. It came back again to the US in the 1990's and has been growing in popularity (albeit slowly at first) ever since.
Pique Dame is a fatalistic work, loaded with the obsession and seduction of the cards, and the gloom that accompanies it.. Placido Domingo, in his 36th season at the Met, and still larger than life, grabbed all of this and created his Ghermann. Every emotion showed on his face and in his voice. One has to wonder if his dominance of the stage is because he is Placido Domingo or because he is simply still that good After watching him play this difficult role, it is evident that it is both. Everyone waits to see him because he is Placido Domingo. But he is "Placido Domingo" because he is simply that good. It has always been a thrill to see him on the stage, and I know it always will be a thrill because I am sure that he will have the grace to know when that is no longer true before we know it. His rendition of Krasavitsa! Boginya! Angel! could not have been better.
Soprano Katarina Dalyman (Lisa) was strong and clear, and very well suited for this role, but had I not read that she killed herself, I would not have understood that it happened (the problem with the frame again). Felicity Palmer excelled as the Countess. Her rich mezzo beautifully portrayed the multi-faceted role, from the up-tight grandmother overly concerned with being proper, to the frail woman lost in remembering her days of beauty and glory in Paris where she was the Queen of Spades.
Nikolai Putilin (Count Tomsky) deserved the ovations he received in the second scene of the third act. His strong, melodic baritone captured the audience and brought out cheers of Bravo from every level of the big opera house.
It is a long opera, and too many people left before the third act. I know that most of us have to go to work in the morning, and some have to travel to get home, but this was a Met worthy opera, and who knows how many more times we will see talent at the level of Placido Domingo on the giant stage of Metropolitan. It was worth staying. It ain't over till it's over.
As a note, I met Delaney Burns (7 years old) and Shannon Dillion (9 years old) before the show started. They were wearing Queen of Spades shirts so I asked if they knew someone in the show. They giggled and said "yes". Their coach smiled and said that they were in the show. I asked them if they worked with Placido Domingo and they said that he was their friend. Delaney and Shannon, Bravi, you were great. You had the best smiles on the stage!