Ruby Washington/The New York Times
Les Troyens Francesca Zambello's production of Berlioz's work based on "The Aeneid" has returned to the Met Opera, Trojan horse and all.
New productions consume a great deal of time and energy at a company like the Metropolitan Opera. And the Met has three coming up in the next several weeks: a new staging of Donizetti's "Maria Stuarda," opening on New Year's Eve; Verdi's "Rigoletto" in late January; and Wagner's "Parsifal" in mid-February. So it must have been a heavy lift for the company to fit a revival of Berlioz's epic French opera "Les Troyens" — one of the greatest but most challenging works in the repertory, with a score lasting nearly four and a half hours — into its crowded rehearsal schedule.
On Thursday night, for the first time since its 2003 premiere run, the Met presented Francesca Zambello's visually striking production of "Les Troyens." It is always a privilege to hear this visionary Berlioz masterpiece. And the mezzo-soprano Susan Graham triumphed in her first Met performance as Didon (Dido), the Queen of Carthage, whose story is told in the last three of this formidable opera's five acts.
But other key cast members were disappointing, especially the tenor Marcello Giordani, who gave a vocally wobbly performance as Enée (Aeneas), the Trojan hero.
In the scenes that mattered most, the cast, the always impressive chorus and the excellent orchestra, conducted by Fabio Luisi, came through, especially during the wistful, gently palpitating nocturne for septet and chorus in Act IV, which delicately segues into the radiant, magical love duet for Dido and Aeneas. This sublime music brought out the best in everyone.
Still, over all the musical performance seemed unsettled. Even the movements onstage during crowd scenes lacked confidence and flow.
Though Mr. Luisi brought shape, vigor and color to Berlioz's score, at times it seemed as if he were mostly engaged in keeping things together and getting everyone through it. The score abounds in Romantic flair and surging Wagnerian power, with massed choral scenes.
Yet Berlioz, in presenting his take on "The Aeneid," with his own libretto, pays homage to his composer hero Gluck. A performance must also bring out the Classical refinement and delicacy in the music. This was one of those nights at the Met where James Levine was missed. Mr. Levine conducted a rapturous performance in 2003. Of course, he had the benefit of the ample rehearsal time allotted a new production.
You have to admire Mr. Giordani for taking on the heroic role of Aeneas. Singing full out, he brought burnished sound and ringing top notes to impassioned phrases, though his emotive, Italianate fervor was not always right for the Berlioz style. But the bottom register of his voice was very patchy. And he was woefully weak during Aeneas' most dramatic moment, in Act V, when, hearing ghostly voices, the tormented Aeneas resolves to abandon Dido, follow his destiny and establish Rome.
The soprano Deborah Voigt sang the Trojan prophetess Cassandra, a role conceived for mezzo-soprano, when this production was introduced. Though the vocal fit at the time was not perfect, she gave an exciting performance. Her singing on Thursday was solid and steady; her bright sound was never harsh.
And she identifies with the anguish of Cassandra, who knows what is coming for the clueless Trojans. But Ms. Voigt's low-range singing was wan, and her sound often lacked the body and carrying power a Cassandra must summon.
Lorraine Hunt-Lieberson was a deeply affecting Dido in 2003, in her last performances at the Met. (The radiant Michelle DeYoung took over the role later in that run.) Ms. Graham is a worthy successor. She sang with melting richness, regal refinement when called for, and furious passion when Aeneas abandons her. In the tender exchanges with Aeneas, she inspired Mr. Giordani to his most sensitive, pianissimo singing.
Standouts among the strong supporting cast included the earthy mezzo-soprano Karen Cargill as Anna (Dido's sister); the stentorian bass Kwangchul Youn as Dido's minister, Narbal; the muscular bass Richard Bernstein as the Trojan priest Panthus; and the ardent tenor Eric Cutler as Iopas, the poet at Dido's court.
One of the surprising highlights of this epic opera is the simple, homesick song of the young sailor Hylas, beautifully performed here by the sweet-voiced tenor Paul Appleby.
"Les Troyens" runs through Jan. 5 at the Metropolitan Opera House, Lincoln Center; (212) 362-6000, metopera.org.
This article has been revised to reflect the following correction:
Correction: December 14, 2012
An earlier version of a picture caption with this article misidentified the actress and the role she plays. It is Deborah Voigt as Cassandra, not Susan Graham as Dido, Queen of Carthage.
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