Dvorak - Rusalka / Robert Carsen, James Conlon - Fleming, Urbanova, Diadkova, Larin, Opéra de Paris

I bought this specifically because I loved director Robert Carsen's production of Der Rosenkavalier, which I thought was just wonderful. I didn't know Rusalka at all, but I like Dvorak so why not? The opera itself is filled with wonderful music and I'm sure is magical in the right hands. Unfortunately, these are not the right hands, clearly. This is one of those "concept" productions - I'm all for looking at things differently as long as it makes some kind of sense to the material. This is just artsy for no reason at all - the set is interesting but has nothing to do with the story being told. Also, all the humor Carsen mined from Der Rosenkavalier is in absentia here - there's no magic, nothing but a heavy load of nothing. This was probably the worst way to hear this opera, but after a while I just closed my eyes and listened, so that was good. Fleming is lovely in it, and Conlon is a very good conductor. This one's on Carsen and as much as I love his Rosenkavalier, this junk makes me never want to see another production of his.I may try the Met production, also with Fleming. And I'll buy a CD version, probably the Mackerras also with Fleming, although I hear the one on Supraphon is very good, too.

Rusalka is one of my top favorite operas and THIS is the production I love to watch. This is Renee Fleming's role; the feature aria is her signature and it was her audition piece for the Met. THIS performance of "Hymn to the Moon", and I have seen several of hers, is and always will be my favorite. She is just radiant. The conductor allows her a much slower tempo so that her voice blooms. This is not how Dvorak wrote it, but she holds the final note for added effect - rarely performed this way because it throws tradition out the window, but it's marvelous. Franz Hawlata is is a true schwarzbass and he sings "Bedo, bedo" with such soul. The other leads are in fine voice in this performance.OK, this being the operatic little mermaid, don't except any mermaids or magical costumes. "Regietheater" tries to show operatic characters in modern settings to expose certain themes. This production, imho, is trying to show the sexual themes in Rusalka. In most productions, Rusalka's reasons for treating the prince coldly in Act II can be a bit vague. Maybe she's overwhelmed by the decadence of his world. This production makes it clear: the prince's advances are VERY sexual. The dancing is very sexual. Rusalka is bewildered. It fits very well musically and shows the "fear of sex" themes in the opera. If Registheater is not to your taste, a later performance of Fleming at the Met in the traditional production where Rusalka sits in a tree and the "water goblin" wears a green chest plate for fake cut abs and pecs, is also available on Amazon. That one is just WAY too campy for me. This is one production where Regietheater is a success!

I am in the new generation of opera singers and lovers. I'm always looking for new artistic productions and interpretations on stage. This production of Rusalka could be most perfectly explained as sheerly beautiful! Some don't like its mildly complex staging, but I believe that its open for vast interpretation That's why its awesome.These are a few of my thoughts about the meaning:We see a small pool on stage about 2 or 3 inches in depth in the beginning, representing the lake that Rusalka and her sisters live. Remember, Rusalka is a water sprite, NOT a mermaid, as many people seem to think. Water sprites have the ability to walk on water, so this makes more since as they begin to splash around "on top" of the water.Secondly, Rusalka's Father, who is dressed in a formal black business suit, is dressed this way (I believe) to represent a powerful force over the lake and its inhabitants. Its like "Daddy's coming home to his little girls after a day of work." The bed over the water represents the land, which is "out of reach" to the girls in their sprite form. Of course, the bed lowers as Rusalka becomes a woman.As far as the "mirror scene" is concerned, this is left up to interpretation, but becomes more symbolic as Rusalka and the new Princess "trade places". Then we begin to understand why the mirror had to be there. Also, think of each side representing something: One is a world wanted and craved, the other a plain reality.The dance sequence is something that needs to be thought about. Its essentially the entire story from beginning to end (more or less) in a dance. Notice the gestures that Rusalka makes as if she is choking, and see that same gesture mirrored in the female dancers. The stripping of their dresses is essentially the stripping of many things: life, happiness, and her ideal world.I think that Robert Carsen did a remarkable job with this production. In addition, the singing of ALL of the characters is quite amazing. Renee's interpretation of "Song to the Moon" is sung with the warmest of legato lines and caresses the soul like velvet. Truly one of her signature roles! I love the three sisters in the beginning for their musicianship and energy. But Larissa Diadkova as Jezibaba is really something to hear. Her dark Mezzo voice is like Chocolate, with a hint of spice. Sergei Larin as the Prince gives a fascinating performance as well.I highly recommend this production to any opera lover, if anything, just for something different. If you watch it with an open mind, I think that it has the ability to become a favorite in your collection. It did in mine!!!

I love this opera and for me having heard and seen Renee Fleming in the role, there could be no-one else to equal her performance !It was magic and very moving.I agree with the other review that every single voice was top quality, particularly Franz Howlata,who plays Rusalka's Father.Loved the production although it may not appeal to all ( but nothing ever does ).A DVD not to be missed !!!!

This is a fine performance by one of the greatest sopranos ever and Renee Fleming is backed by an excellent cast of singers in an exceptionally imaginative production. I absolutely loved it and will treasure this filmed record of such a wonderful singer.

Very good CV

°Die folgende Rezension zu 'Rusalka' bezieht sich auf die Aufführung an der Opéra national de Paris (2002) in der Inszenierung von Robert Carsen unter der musikalischen Leitung von James Conlon.Robert Carsen zählt heute zu den renommierten Vertretern des vielfach abgelehnten 'Regietheaters'. In seiner Pariser 'Rusalka' aus dem Jahr 2002 hingegen zeigt er sich als eher gemäßigt moderner Regisseur. Seine Inszenierung präsentiert uns Dvoraks lyrisches Märchen in einer zeitgemäßen Optik, die den romantischen Charakter des Werks vollauf bewahrt. Dies gelingt vor allem durch eine sehr stimmungsvolle Lichtregie sowie durch beeindruckende bildmagische Projektionen der Wasserwelt. Ein äußerst lebhafter Auftritt der drei Schwestern Rusalkas während ihres von slawischen Tanzrhythmen durchsetzten Terzetts, das effektvolle Erscheinen der Hexe Jezibaba oder das im wahrsten Sinne des Wortes Verschwimmen der Grenze zwischen Menschenwelt und Wasserreich verleihen der Aufführung bereits im ersten Akt eine besondere Dynamik. Die Sphäre der Adligen (Prinz, Prinzessin') wird unaufdringlich ins bürgerliche Milieu transferiert. Ein Ehebett sowie rote Rosen werden zu Symbolen romantischer Liebe bzw. der Sehnsucht danach. Carsens Regie weist Jaroslav Kvapils durchaus symbolistischem Libretto werkimmanent interpretierende Aspekte (Farbsymbolik, symbolische Kostümwechsel u. a.) zu, ohne der Oper jedoch eine Deutung von außen aufzuzwingen. Es handelt sich explizit um kein (verfremdendes) 'Regietheater', wobei auf bühnennaturalistischen Kitsch gleichwohl verzichtet wird.Die sängerischen und schauspielerischen Darbietungen der namhaften Akteure von Fleming über Diadkova, Larin und Hawlata sind durchweg positiv zu bewerten, Ausreißer nach unten gibt es auch bei der übrigen Besetzung keine. Gutes Dirigat von Conlon.Die Aufführung ist auf Tschechisch, Untertitel (Dt., Engl. etc.) sind optional einblendbar.Fazit:Ähnlich wie Humperdincks 'Hänsel und Gretel' in Deutschland genießt Dvoraks 'Rusalka' in Tschechien (gemeinsam mit Janaceks 'Das schlaue Füchslein') den Ruf einer Kinder- bzw. Familienoper. Carsens 'Rusalka' ist für Erwachsene!

Tout est beau dans ce dvd. Rusalka est avant tout un conte avec des génies des eaux et des ondines. En gros c'est la même histoire que dans "Ondine" de Giroudoux que j'ai revue après (I. Adjani en Ondine) ou que dans "la petite sirène" d'Andersen que j'ai relue. Il y a aussi un magnifique ballet racontant la même histoire. Rusalka est amoureuse d'un humain. Elle veut devenir humaine mais la sorcière lui joue un vilain tour en la faisant humaine mais froide et ne pouvant parler aussi sa vie terrestre, malgré l'amour du prince, devient vite un enfer. Je ne raconte pas la suite qu'il faut découvrir. Hélas rien ne finit bien, bien que ce soit un conte. La musique de Rusalka est magnifique et la mise en scène inventive sans tomber dans le grotesque ou le vulgaire. Les chanteurs sont à la hauteur de la musique. Renée Fleming est en grande forme et sa voix nous transporte. Elle donne beaucoup de sensibilmté à son personnage. L'émotion est au rendez-vous. C'est un très très beau spectacle et qui offre l'avantage de nous sortir des opéras connus.