Adriana Hoelszky's `Giuseppe e Sylvia, which had its world premiere in
the Stuttgart Staatsoper Friday night, should have had a warning label:
`If you prefer your opera with music, don't bother.  An 80-minute work,
to Hans Neuenfels' novelty-70-years-ago type convoluted libretto (and
in his direction), `Giuseppe has atonal bits, noises, speaking, yelling,
sprechtstimme, and - confusingly - a pre-recorded soundtrack played from
speakers in the back of the auditorium, so the noise attacks from all
around.  Amazingly, the Sylvia - Evelyn Herlitzius - managed to display
an impressive voice, even without anything to sing.

The story is about Verdi and Sylvia Plath, both dead, keeping an
appointment to discuss why one committed suicide and the other didn't.
They come together on the set of a film crew, with a nervous director
hovering over the scene, and in the company of a young waiter who is
killed by his father at his request to take part in the encounter.  It
is unclear what makes the difference, but the waiter appears at times
with his apparently make-believe two-foot penis tied in a knot, and at
other times, it is not.  Had enough? I'm sure you've seen this all, too
many times.  (If you want to mark the centenary of Verdi's death, it's
coming up on Jan.  26.)

Aber: die Joswig!  Same house, different story.  Nothing can make an opera
lover happier than `discovering a wonderful singer who is still largely
unknown.  Such was the case Thursday night at the Stuttgart debut of
Margarete Joswig, in the role of Isabella, in an excellent production of
`L'Italiana in Algeri.  I looked away from the stage for a moment when she
made her entrance, and the voice startled me.  Not as deep and strong of
Horne's, but with the same accuracy, power and flexibility, Joswig's voice
is a rare instrument, a joy to behold.  Add to it an attractive, compelling
stage presence, brilliant acting, and perfect diction.  Hallelujah!

Joswig comes from Mannheim, trained and started her career in Frankfurt,
becoming a member of the company there only six years ago.  Her roles
include Orfeo, Dorabella, Idamente, Orlofsky, Magdalena (both Wagner's and
Verdi's), and Fenena.  As far as I know, she has not performed outside this
area, and that situation should be remedied soon if a sensible big opera
company is looking for a killer mezzo.

Janos Gereben <[log in to unmask]>