Anna Tomowa-Sintow (Kaiserin) Richard Strauss' Die Frau Ohne Schatten, Opera de Marseille 1995

Cast:
Kaiserin: Anna Tomowa-Sintow,
Kaiser: Horst Hoffmann,
Färberin: Gwyneth Jones,
Barak, der Färber: Jean-Philippe Lafont,
Amme: Reinhild Runkel,
Geisterbote: Malcom Rivers,
Stimme des Falken: Brigitte Anselmino,
Die Erscheinung eines Jünglings: Alain Gabriel,
Stimme von oben: Nathalie Stutzmann,
Der Hüter der Schwelle: Artur Stefanowicz,
Der Einäugige: Philippe Fourcade,
Der Einarmige: Chris de Moor,
Der Bucklige: Yvan Matiakh,
Director: Charles Roubaud,
Conductor: Friedrich Pleyer,
Orchestre et Choeur de l'Opera de Marseille

[@g_vezz]

What a fabulous production with Ana Tomowa-Sintow in superb voice giving a performance worthy of Leonie Rysanek. This is my favorite opera of operas since the Met 1966 premiere. Although Jones’ voice is past its prime she can still deliver the passion. The entire cast and conducting are all excellent. The production is much better than anything I’ve seen since 1966. At least they understand what the opera is about.

[@jeanineprosper5861]

Une des productions à laquelle les enfants de l'ensemble vocal Vincent d'Indy ,devenu ensuite maîtrise des bouches du Rhône que je dirigeais, a participé avec un réel bonheur et partagé avec des artistes d'une qualité exceptionnelle . Un grand moment!

[@davidhume3874]

Merci!!!

[@terryhammond1253]

🎹 It's good to hear the entire score complete... Without the endless cuts that conductors always seem to take and that Strauss strongly Disapproved of.

[@pianomanhere]

I'm a man who loves children, but has none and never intended to have them. Ironically, Die Frau Ohne Schatten, an opera with fertility and child-bearing as the main themes, is my all-time favorite opera.

[@thierryniord6661]

Quelle belle production! La mise en scène, les décors et les lumières étaient magiques. Les chanteurs étaient excellents. Le chef a tout donné avec ferveur. J'ai assisté à toutes les représentations avec bonheur.

[@evanalexischrist8088]

Just another masterful performance from Maestra Tomowa-Sintow! So beautiful in every range! Such depth of understanding. A pure joy to listen and watch every moment! Thank you!

[@AntW11]

This is a phenomenally acted piece. The protagonists are brilliant in conveying their roles. At first I felt the orchestra was not on the same level, but, the integrity of the performance takes this to another level. Brilliant!!

[@McSireno]

Trotz der nicht optimalen Ton- und Bildqualität: Erkennbar großartigste Inszenierung mit von Anfang bis Schluss gehaltener musikalischer und gestalterischer Spannung. Die Straussschen muskalischen Intentionen voll erfasst und realisiert. Wunderbare stimmliche Leistungen - Tomowa-Sintow erfühlt und gestaltet mit ihrer Stimme die Kaiserin wahrhaftig kaiserlich. Die Partien der Amme, der Färbersfrau, des Färbers sind gänzend besetzt. Der Kaiser hat seine nicht leichte Partie gut gemeistert.

[@stevenmathers6661]

I saw Jones sing the dyer's wife in London. Staggering power. On that occasion the empress was ruth falcon and the men were siegmund nimsgern and robert schunk

[@alicebui5285]

Splendide, époustouflant casting exceptionnel, j’adore 💐💐💕💕💕

[@MarioHernandez-qr4vx]

Annie you're fantastic,!

[@Wotan123456789]

Thanks for the upload. A beautiful performance: even if the ladies are a bit passed their primes, they display a full understanding of their complex roles.

[@RattusYu]

As if the story of the Richard Strauss-Hugo von Hofmannsthal symbolic opera ''Die Frau ohne Schatten'' weren't already difficult to follow - a Nov. 24 performance of the work at the Zurich Opernhaus featured the same woman singing two leading roles, simultaneously. Gwyneth Jones, already scheduled to sing the challenging role of the Dyer's Wife, agreed, on six hours notice and with a one-hour piano rehearsal, to essay the equally taxing role of the Empress, a part she had never before sung or studied, when Agnes Haberreder came down with laryngitis. Miss Jones sight-read the Empress's scenes from behind a darkened scrim, while an actress mimed her movements. In scenes where the Empress and the Dyer's Wife are both onstage at the same time, Miss Jones turned her face from the audience to sing the Empress's lines, which she had quickly memorized backstage. Fortunately, the Empress and the Dyer's Wife have very little interaction; the only portion of the opera in which the characters' voices overlap is the final quartet, and at that point another soprano sang the Empress's lines from offstage while Miss Jones, in the role of the Dyer's Wife, was on stage with the mimed Empress. ''I had really come in to save my own show,'' Miss Jones said last week. ''The only alternative would have been to cancel 'Frau' and put on 'Rigoletto.' And I'd invited 40 schoolmates of my daughter and really couldn't dream of disappointing them. If I had time to even think about it, I probably wouldn't have done it the first time.'' Miss Jones would not say whether she would receive two fees for her performance. ''I'm not really sure,'' she said, ''but I'll let you know when I receive my check.'' (15 December 1985. Excerpt from The New York Times)

[@arturozenorini4331]

Really interesting. I love Strauss operas and mostly 'Die Frau ohne Schatten'. In any case, I think that 'Rigoletto' can't disappoint anyone.

[@zalba5710]

@@arturozenorini4331 If I would have tickets for the Frau ohne Schatten and had to listen to Rigoletto, i would not only be disappointed, but mad. Verdi and Strauss don’t compare

[@jgesselberty]

A very understated and minimalist production, avoiding the cartoonish, laundry room, productions we see in opera, today.

[@angusmcrandy]

Empress: Anna Tomowa-Sintow, soprano Emperor: Horst Hoffmann, tenor Dyer's Wife: Gwyneth Jones, soprano Barak, the Dyer: Jean-Philippe Lafont, baritone Nurse: Reinhild Runkel, mezzo soprano Spirit Messenger: Malcom Rivers, baritone Voice of the Falcon: Brigitte Anselmino, soprano The Apparition of a Youth: Alain Gabriel, tenor Voice from On High: Nathalie Stutzmann, contralto The Keeper of the Threshhold: Artur Stefanowicz, tenor One-Eyed Man, Barak's Brother: Philippe Fourcade, baritone One-Armed Man, Barak's Brother: Chris de Moor, bass The Hunchback, Barak's brother: Yvan Matiakh, tenor Act 1 Scene 1 It is dawn, outside the bedchambers of the Emperor and Empress. The Messenger of Keikobad arrives, and tells the Empress's nurse that the Empress must acquire a shadow within three days, or will be forcibly returned to his realm, and the Emperor turned to stone. The Nurse is excited about the prospect of returning to the spirit world, since she hates humans and having to dwell with them. The Messenger leaves and the Emperor emerges from his bedchamber. He departs on a three-day hunting trip, seeking his favorite falcon, which he drove away for attacking a gazelle that later turned into the Empress. He leaves his wife to the Nurse's care. The Empress emerges from her chamber and reminisces about times when she had the ability to turn into any creature she wanted. It is revealed that after being attacked by the red falcon that the Emperor is seeking, she lost a talisman that gave transformation powers, and on which was inscribed a curse that foresaw the fate she and the Emperor are about to face if she does not acquire a shadow. The red falcon appears and warns the Empress that the curse is about to be fulfilled. The Empress begs the Nurse to help her get a shadow. The Nurse, who is steeped in magic, suggests descending to the mortal world and finding a woman who will sell her shadow to the Empress. Scene 2 Barak, a dyer, shares his hut with his Wife and his three brothers: the One-Eyed Man, the One-Armed Man, and the Hunchback. The three brothers fight about a stolen item and are separated by the Wife, who throws a bucket of water at them. The brothers-in-law then argue with the Wife. Barak enters and stops the argument. The Wife wants to have her in-laws thrown out, but her husband refuses. The Dyer desires children, but his Wife fears the responsibility and has secretly sworn not to have any. The Dyer and his brothers leave, and the Empress and the Nurse arrive in disguise. The Wife wants them out of her house but the Nurse conjures up visions of luxury and promises them to the Wife in return for her shadow. The Wife agrees to deny her husband for three days during which the Nurse and the Empress will live at the Dyer's hut as poor relatives who have come to work as servants. Barak approaches and the Wife is worried that dinner is not ready, the Nurse once more uses her magic to have everything ready, including the splitting of Barak's bed in two. The Nurse and Empress disappear, and the Wife is greatly upset by the offstage Voices of Unborn Children lamenting, which emerge from the fish that are cooking on the fire. The Dyer returns to find he is barred from his marital bed. The Wife curtly informs him of the impending stay of her "cousins" and goes off to her separate bed. From outside the Town Watchmen are heard singing of the importance of conjugal love. Barak sighs and lies down to sleep on the floor. Act 2 Scene 1 The Empress, acting as a servant, helps the Dyer leave for work, but is troubled by her role, because Barak is very kind to her. The Nurse conjures up the image of a handsome youth by bringing a broom to life, which tempts the Dyer's Wife. The Dyer returns with his hungry brothers and beggar children. He has had a magnificent day at the market, selling all his goods, and has invited everyone to celebrate. However, his Wife manages to ruin the celebration. Scene 2 The Emperor is led to his hunting lodge in the forest by the red falcon. He sees the Empress and Nurse surreptitiously enter the lodge, and is suspicious. When he comes closer, he smells a human odor trailing the Empress. Thinking she has betrayed him, he resolves to kill her. He first thinks of using an arrow, and then his sword, and then his bare hands. Finally he realizes he can't do it. He resolves to seek out some isolated ravine to be alone with his misery. Scene 3 At the Dyer's house, the Dyer is drugged into sleep by the Nurse. The Nurse again conjures up the young man for the Wife, who grows frightened and rouses the Dyer. Barak is surprised to learn that there is a man in his house but then is quickly turned upon by his Wife, who shouts at him, then leaves for the city, leaving her confused husband. Left alone with Barak, the Empress feels more guilty than before. Scene 4 The Empress goes to sleep at the hunting lodge, but in her sleep she is further troubled by her crime and by the possible fate of the Emperor. In a dream, she sees the Emperor enter her father's realm. Unseen choruses chant the curse of the talisman. Awakening, she is overcome with guilt and remorse. Scene 5 The next day, the Wife announces that she has sold her shadow. When a fire reveals that she has no shadow, the enraged Barak is ready to kill her. The Empress cries out that she no longer wants the shadow. A sword appears in the Dyer's hand. His brothers restrain him as the Wife declares her remorse and urges Barak to kill her. An earthquake splits the ground and Barak and his wife are swallowed into the earth. The brothers flee, and the Nurse, recognizing Keikobad's hand, spirits the Empress away. Act 3 Scene 1 In a grotto beneath the realm of Keikobad, the wife and the Dyer are seen in separate chambers, unaware of the other's presence. The Wife is haunted by the Voices of Unborn Children. She protests that she loves the Dyer, who regrets his attempted violence. A voice directs them up separate staircases. Scene 2 The Empress and Nurse arrive before Keikobad's Temple. The Nurse tries to convince the Empress to escape but she remembers the doors from her dream and knows that her father is waiting for her on the other side. She dismisses the Nurse and enters. The Nurse foretells terrible tortures awaiting the Empress and misleads the Wife and Barak, who are looking for each other, she to die at her husband's hand, he to forgive her and hold her in his arms. Keikobad's Messenger condemns the Nurse to wander the mortal world. Scene 3 Inside the Temple, the Empress speaks to Keikobad, asking for forgiveness and to find her place amongst those who cast shadows. Keikobad does not answer but shows the Emperor already almost petrified. The Fountain of Life springs up before the Empress, and a temple guardian urges her to drink from it and claim the Wife's shadow for herself. But the Dyer and the Wife are heard offstage, and the Empress refuses to steal their future happiness and become human by robbing humanity from someone else: "Ich will nicht!" ("I will not!"). This act of renunciation frees her: she receives a shadow, and the Emperor is restored to natural form

[@michelegiovetti6678]

La Jones allucinante

[@jvdesuit1]

N'atteindra jamais au niveau à la magie de la production en 1972 à l'opéra de Paris dirigée par Karl Böhm avec : James King (L' Empereur) Ingrid Bjoner (L' Impératrice) ou Leonie Rysanek Ruth Hesse (La Nourrice) Walter Berry (Barak) Gladys Kuchta (La Femme de Barak) ou Christa Ludwig Jean-Pierre Laffage (Le Messager des esprits) Albert Lance (Apparition d'un jeune homme) Hélène Garetti (La Voix du faucon) Hélène Garetti (La Gardienne du seuil du temple) Nadine Denize (La Voix d'en haut) Raymond Steffner (Le Borgne) José Delfont (Le Manchot) Rémy Corazza (Le Bossu) Jean-Claude Darcey (Une Voix de gardien) ou Michel Llado ou Michel Philippe Mise en scène Nikolaus Lehnhoff Décors et costumes Jörg Zimmermann Je vis le spectacle avec Rysanek et Ludwig. Bernard Lefort reprit le spectacle en 1980, malheureusement c'était l'ombre de la présentation initiale. La mise en scène de Nikolaus Lehnhoff respectait totalement l'atmosphère de conte de fées que doit avoir le spectacle. Un des aspects tout à fait original lors des changements de décors, lorsqu'on passait dans la maison de la teinturière, était que celle ci , coupée en son milieu, entrait sur le plateau au vue des spectateurs par moitié se rejoignant venant des deux cotés de la scène. Au final l'empereur et l'impératrice se trouvaient en haut d'un immense escalier dans l'ombre, eux-mêmes éclairés dans une atmosphère de lumière dorée, tandis que Barak et sa femme se trouvaient au pied de l'escalier, dans une lumière plus froide. Tout cela donnait une atmosphère totalement irréelle et magique. Il y avait deux entractes et à chaque arrivée dans la fosse de Böhm, c'était une véritable ovation de plusieurs minutes du public. Lors de la soirée à laquelle j'assistais, il y eut près de 20 minutes de rappels après le baissé du rideau final. C'est sans aucun doute le souvenir le plus mémorable avec Elektra et Nilsson, aussi dirigé par le grand chef de cette période où les metteurs en scène respectaient les oeuvres des compositeurs et ne leur attribuaient pas comme aujourd'hui des idées tirées par le cheveux comme le font les Olivier Py, Sellars et autres parasites du lyrique. Quel dommage qu'à l'époque on n'ait pas pu faire une captation de cette soirée. Il y a sur KZbin un documentaire venant d'un pays scandinave concernant ce spectacle avec des extraits mais hélas d'une très mauvaise qualité et il est bien difficile de se faire une vraie idée de cette production. Le Festival de Salzburg a donné en 1992 une production sous la direction de Solti, mise en scène par Götz Friedrich qui sans être aussi magique que celle de Paris, vaut la peine d'être vue et est disponible en dvd. Je viens de trouver un petit passage de la production de Paris reprise à Stockolm avec Nilsson dans le rôle de la teinturière qui peut rivaliser avec Ludwig bien entendu: kzbin.info/www/bejne/l16Qdoilq5aBic0

[@pianomanhere]

Incroyable.

[@michaeljeran4941]

Die Karlsruher Inszenierung war auch toll! Never forget!

[@fabptitpom]

What a beautiful opera, but makes me sad because I really want to have children but can't find a wife. Almost singers are good, but I'm very disappointed by Jean-Philippe Lafont, even though he's one of my favorite french singer.

[@draganvidic2039]

A bit too late for Tomowa-Sintow, at least if you’d prefer a more youngish sounding Empress with easy glamourous top notes...

[@ransomcoates546]

Extremely inert finale.