Korngold: Die tote Stadt (Strasbourg, 2001)

Cast: Angela Denoke (Marietta), Torsten Kerl (Paul), Yuri Batukov (Frank), Brigitta Svenden (Brigitta), Barbara Beier (Juliette), Julia Desch (Lucienne), Christian Baumgärtel (Victorin), Stephan Genz (Fritz); Orchestre Philharmonice di Strasbourg, Jan Latham-Koenig (conductor), Inga Levant (director), Charles Edwards (set and lighting), Magali Gerberon (costumes), Don Kent (video director)

Recorded at Strasbourg in 2001

Published by Arthaus Musik in 2002-03 in two versions:
NTSC [100 343/region 0/ with menus in English, French, Spanish, Japanese, and subtitles in the same languages and German] and PAL [100342/ region 0/ with menus and subtitles in French, German, English and Spanish].

Technical details
Aspect ratio 16:9
Sound Dolby Digital 5.1, DTS 5.1, PCM Stereo (reviewed in stereo)

Running time: 145 minutes

Sung in German
Consistent with the opera itself, the production is dark and stark. The sets are generally minimal but always effective; each element required is present in recognizable form - but usually in isolation from the rest of the scene. The effect is to focus the drama, arguably more than the refulgent score requires. Conducting is effective but without inflection. In this case, that is sufficient. Edwards's lighting must be noted for its unobtrusive effectiveness.

Denoke is every bit as attractive as the role requires and portrays its hard aspects well; unfortunately, she is less effective with the more romantic vocal requirements. Kerl is outstanding both dramatically and vocally, coming close to excess appropriately but never crossing the line. He avoids the trap of bleating to express distress and sings even his final scene with apparently easy production. Led with fitting lyricism by Batukov, the rest of the cast fleshes out the opera with distinction.

Die tote Stadt does not fit easily into the categories of opera. It is both macabre and exotic; those aspects are served well by the production. The orchestra fills in under the vocal line, supporting it, but contributing little in itself, as in music for the cinema, where Korngold found his greatest fame. The newcomer to the score should be aware that the deservedly famous Marietta's Lied and 'Mein Sehnen, mein Wähnen' are unique for their accessibility and tunefulness. In all, this fine recording may be the best way to discover the work; it can be taken in doses - perhaps each act in a separate sitting, to limit its psychological and auditory effects.
 
Related website:
Arthaus Musik www.arthaus-musik.de
 
Michael Richter, 26 July 2004
mrichter@cpl.net
 
See also Michael Richter's Introduction to the DVD, for a list of other reviews see the DVD Project page.