SAN FRANCISCO – Operas that plumb the inner musings of characters are always tricky affairs. Often, what rattles in the brain is never as captivating as what happens in the flesh.
This is the great challenge in staging Erich Wolfgang Korngold's two-act opera "Die Todt Stadt." In this work, a man's obsession with his dead wife is front and center. Minefields of psychological musings are plenty and the plot is thin.
Fortunately, an edgy and visionary approach to staging this opera, coupled with strong performances, made Tuesday's opening of the San Francisco Opera's "Die Todt Stadt" at the War Memorial Opera House an engaging affair.
Here the singularly talented direction of Willy Decker's original production produced at the Vienna State Opera in 2004,is tastefully re-imagined by Decker protégé Meisje Hummel. The result is that Hummel has put a great shine on Korngold's third opera, which offers a libretto written by Korngold's father and is based on Georges Rodenbach's novella "Bruges-la-Morte."
Here the heady dose of late romanticism sometimes seemed at odds with the stunning and bracing qualities of the stage design. Those included a stage that morphed into odd angles, a series of blue houses that dance across the stage, boxes within boxes, and the elegance of tableaux scenes behind a see-through scrim.
The direction helped sell the character Paul's psyche onstage. Paul's role was sung with spunk and ardor by tenor Torsten Kerl. Paul is obsessed with the image of his deceased wife, Marie, so much so that he carries around a large sample of her hair in a glass box.
In this role, Kerl was always sure-footed but never majestic. And his singing was often overmatched by the extra-vivid performance that conductor Donald Runnicles coaxed from the orchestra. To be fair, the Paul role is a thankless one, with much hand wringing and many moments when Kerl was forced to sing while slumped over in a chair.
But such limitations were not the same for standout soprano Emily Magee, as Marietta, a sexy doppelganger for the deceased Marie. Magee thrilled with her radiant and bright voice. She brought much life into this melancholy tale. Hers was a bracing and physical performance that proved a fitting counterpoint to Paul's obsession of making Marietta into Marie.
This opera offered no shortage of strong performances, mainly baritone Lucas Meachem as the tall and imposing double roles of Frank and Fritz, and the enchanting mezzo-soprano Katharine Tier as the pious maid Brigitta.
As opera orchestral performances go, this was an outstanding one by the San Francisco Opera orchestra. Runnicles is a master at demanding color and detail from this orchestra, and on Tuesday Korngold's difficult score bloomed with both. At times it was tempting to close the eyes and listen to the music, which grew richer and more complex as the opera developed.
Korngold is considered the father of the film score (he won two Oscars for his music for the "Anthony Adverse" and "The Adventures of Robin Hood"). And the music in "Todt," which owes a nod to Strauss and Puccini, proves why.
Ultimately, "Todt" is an opera that will not enter the canon any time soon. The subject matter is dark and repetitive, and will not rivet.
But with this production, the San Francisco Opera proves that any story, however inwardly redundant or psychological, can get a brilliant interpretation.
Call arts critic Edward Ortiz, (916) 321-1071.
