A German production premiered today by the San Francisco Opera became a
stunningly authentic offering of Dmitri Shostakovich's "Lady Macbeth of
Mtsensk."

This is one of mightiest, most original musical works of its time, a giant
among 20th century operas, and the letter-perfect performance featured
some unexpected echt-Russian contributions from a huge cast (only a few
real Russians among them).

The best came from Donald Runnicles, the SFO Orchestra (with breathtakingly
lyric woodwind obbligati and the vastly expanded brass section in white
heat), and Ian Robertson's SFO Chorus in the season's finest performance,
including first- and fourth-act excerpts that stand along the best you
can hear in the Bolshoi or Kirov.

Murderous, foul monster that he was, Stalin knew a thing or two.  When
"Lady Macbeth" premiered in Leningrad in 1934, critics and audiences
were crazy about it, as well they should have been.

For two years, Stalin relied on reports about it, but then he attended
a performance, and he couldn't help wondering about the stark dramatic
and musical treatment of brutal oppression.  True, the story took place
in 19th century, feudal Russia, and the mistreated were women and peasants,
but still...  there was something familiar about the atmosphere, the
lack of air to breathe.  Then came the final act and the depiction of
life in Siberia, and now Stalin *knew* what was bothering him.

He banished the opera, did his best to put an end to Shostakovich's
career, and created such trauma for the composer that he didn't write
a large-scale opera again - a terrible loss for the genre.

San Francisco has had a special relationship with the work.  The
Soviet-sanitized version, "Katerina Ismailova," had its US premiere
here, in 1964, with Marie Collier and Jon Vickers.  The very young, much
lamented Calvin Simmons conducted "Lady Macbeth" proper in 1981, with
Anja Silja and William Lewis, the production being repeated in 1988,
with Josephine Barstow, Jacques Trussel.

And now this, the first US performance of a grand production from the
Stuttgart Opera.

There were such superb performances among the principal singers that it
seems strange to speak first of the orchestra and chorus, but no individual
effort could match the collective brilliance of those ensembles in doing
justice to music that ranges from scenes of post-Wagnerian enchantment
to bawdy, manic circus tumult to depict one of opera's strangest and
most memorable love scenes.

In the best Stuttgart import so far, Johannes Schaaf's restrained,
thoughtful direction and Nina Ritter's wonderfully simple and effective
sets work together to serve the music.  Even scenes skirting excess are
OK here.  For example, Schaaf directed that musically absurd love scene
by having the standing lovers, under a cape, serenaded by a marching
band in Sgt.  Pepper uniforms.  Doesn't sound right, but the *music*
justifies it.

Ritter's flat geometrical backdrops are fascinating, but do not call
attention to themselves; more, they help create and sustain a mood.
A gigantic red square, set on its corner, cleaves the stage.  Picking
up on the theme, rectangles serve as windows or source of light, often
at a surprising angle.  (David Finn's lighting is both beautiful and
dramatic.) The screen projection for the Siberian scene is exactly right.

And so we come to the cast of 24 solo singers, mostly superb.  Solveig
Kringelborn's role debut was a surprise.  She sang here before, very
well, but gave no indication of being able to reach such dramatic and
vocal heights.

 From a childish, bored young wife to the peak of ultimate and destructive
passion, Kringelborn looked believable and sounded tremendous, both in
the soprano range and in some true alto passages.  Her vocal performance
was made special by handling the fiendishly difficult score without ever
reaching for the notes; no preparation or effort was audible - the music
came forth, "unaided."

Christopher Ventris' Sergei was a worthy company to this very special
Katerina, especially in the fourth act, when the character's betrayal
of his lover turns the work into a veritable Greek tragedy.

Ismailov Sr., world's worst father-in-law, is sung very effectively by
Vladimir Vaneev, in his debut here.  The Russian bass doesn't have the
majestic voice one would associate with Boris Godunov (although he sings
that role), but the combination of voice and acting hit the spot.

Another Russian debut, Vsevolod Grivnov as Ismailov Jr., was also
satisfying, without being spectacular.  Big impressions in small roles
were made by Nikita Storojev's Police Sergeant, the debuting Jane Dutton's
Sonyetka, Kevin Glavin's Priest, Philip Skinner's Officer, and Ann
Panagulias (returning after what seems to be a long absence) as Aksinya
and a female convict.

"Lady Macbeth" performances are scheduled for Nov.  11, 14, 17, 20, and
22.  For the first time since the company's glorious "Ariadne auf Naxos,"
here's a production worth returning for...  several times.

Janos Gereben/SF
www.sfcv.org
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