Milwaukee Symphony Orchestra’s Sensational ‘Bluebeard’s Castle’

As a critic I don’t come across many breakthroughevents that go far beyond expectations into sensational territory, showingwhat’s possible. Milwaukee Symphony Orchestra’s concert performance lastweekend of Béla Bartók’s opera Bluebeard’sCastle was electrifying and magnificent, the first watershed achievement ofthe Edo de Waart era at MSO.

Any opera is a conducting challenge, but thestrangely beautiful and expressionistic Bluebeardis unusually technically and aesthetically daunting. Master opera conductor deWaart led a monumental performance that avoided the danger of disjunct in thishighly detailed, episodic score, conjuring both grace and angularity, subtletyand raw power. The MSO suddenly became one of the most exciting operaorchestras in the world.

Bass Andrea Silvestrelli, a distinctive and imposingphysical and vocal presence, gave tragic and overwhelming depth (and astounding,unforced volume) to the tortured Duke Bluebeard. Jeanne-Michele Charbonnet’sJudith was impassioned, her dramatic soprano ripe with emotion, from soaringhigh notes to rich chest tones. Besides accomplished musicianship from bothsingers in this ideal cast, vivid and evolved acting brought this unstagedperformance to life.

Noted glass sculptor Dale Chihuly’s set designs,created for Seattle Symphony, amplified the piece immeasurably, lendingeffulgent, abstracted illustration to the six mysterious doors of the castle.Each of the six was a breathtaking, dramatically lighted, colorful revelation.It is not hard to imagine the entire set in a sprawling museum exhibit.

The opera’s impact nearly wiped away any memory ofMozart’s Sinfonia concertante for violin, viola and orchestra, heard beforeintermission. New associate concertmaster Ilana Setapen played with livelyelegance and panache. MSO violist Robert Levine’s sound lacked vibrancy incomparison.

Earlier in the week Early Music Now presented theworld’s most famous star of Renaissance and Baroque music, British soprano EmmaKirkby, performing music of John Dowland and Henry Purcell with lutenist JakobLindberg at Wisconsin Lutheran College.Most singers attempt a restrained tone in early music. Kirkby is so perfectlysuited to it that the opposite is true. Though her flawless light voice issmall in sound and her dynamic range naturally limited, few classical singersperform with Kirkby’s exuberant, expressive freedom. Each phrase seems to come fromher entire body with spontaneous joy. No artist uses English diction moretellingly. Singer and lutenist created a parade of magical moods, whetherin dance-like high-spirits or ponderous contemplation. Lindberg’s lute soloswere an amazing display of the instrument’s capabilities.