La Monnaie Parsifal | T, Q & A

PARSIFAL | Act 2
"Wo ist mein Geliebter?"
DE MUNT / LA MONNAIE
All photos herein © Bernd Uhlig

Having learned the hard way that shocking images turn up online at the most inopportune times, I wrote a letter home to my parents before the Parsifal Premiere. In interest of full disclosure, I decided I better warn my dear Mama that she probably needed to brace herself for the coming images. (She found the bare butt image used in the Bieito Parsifal press online the day after getting out of the hospital. Let's just say she found it "challenging.") There are many reasons why Regie Theater in America is hardly conceivable. We are a nation founded by Puritans. And I don't mean that in a derogatory way. It is my heritage.

She thanked me for giving her a heads up this time.

But questions abound for her and others who have now seen the show. I can't compete with Opera Cake's own breakdown of the Bieito Parsifal, but thought I would try to answer some questions that are now surfacing for those who've seen the show. And my Mom's "Alfie Question"…who hasn't.

In yesterday's comments, I was posed some interesting questions by a participant, and I thought I would answer them here.

What are the beauties and difficulties of Wagner productions that break with tradition, sometimes shockingly so?

First of all, I would encourage you to read this series from the beginning which is why I set up the Production Archive on the right panel. You'll get a basic 'feel' for the challenges if you read it through.

I don't pretend to be a well-school Wagnerite so I can't really address things in comparison to "traditional and normal." I've only done their opposites. I haven't even seen a "normal" production. But I can tell you the beauty of working on Wagner is the people. And I don't think that changes. The people who sing it, who perform it are different, perhaps more collegial and "down to earth." There is a like mind of simply serving the piece. 

The difficulties in doing Regie Nouvelle (I just made that phrase up. If the french is bad, well certain words of Steve Martin come to mind…)  to Wagner's music is not really any different than other composers. Contrapoint style. Juxtaposition. Singing at its best incorporates the heart. And often I'm asked to make it cerebral…even against what the composer seems to be trying to evoke. I have to guard myself from over-intellectualizing so I can hopefully find some way to bring across the emotional aspects of the piece. That includes modifying some things that are so physically twisted that I'm unable to do my job. There was a time when I would absolutely give all my passion and temperament onstage. And then I saw what havoc that brought colleagues and so began to modify it, always trying to hide a small amount of reserve if asked for intensity, and give slightly more vitality if asked for repose. Finding balance is the greatest difficulty.

From a singer/actor's perspective, what do you think of the argument that directors should remain faithful to the composer's instructions?

Having grown up as a jazz musician, the S-word doesn't exist. "Should." As long as there has been recreative art, people have lived on the slippery slope of modification. Theater, like singing is not a fixed thing. It is relational. There are certain rules we all live by, physical parameters (or in the case of a jazz musician, a chord structure) that are followed, but "Should be faithful?" I don't get it. We have choices.  Should implies a deified consequence for choosing a different interpretation. Like, choose to place chorus onstage moving in slow motion during all of Act 3 of Boheme, having no discernible meaning or relation to anything…then go to hell. No. (But seriously! What was the director THINKING?!) A director is judged by his and the performers' effectiveness. If something meaningful is brought to light by "breaking a rule" then by all means, break the rule.

But pity the performer who can't say: "No. I won't do that." We're not puppets or robots. All of us have comfort zones, and deserve respect. I say Regie Theater is important and vital, but we performers must have the chutzpah after trying a crazy idea to say: "Nope." Antagonism is vital to the process, not just chasing every new idea a Regie Director might have.

However, I am loathe to say I understand choices some directors make which are only perceived by me and others as merely provocative. If provocation is all you want, then please don't direct opera. We need to respect our audience more than that. Opera is an artform of parameters. Of fenced in pastures. Not free form jam fests. We are bound by the constraints of the score, of time and space and physical possibilities, not to mention financial concerns. What is even harder to discern is that director's are constrained by what the audience is willing to accept, to take in and be moved by. I don't envy them their job.

Are concept productions as artistically or philosophically valid as traditional interpretations?

I guess. But isn't that question a little like asking if The Church of England and Greek Orthodoxy can coexist? They serve whom they are meant to serve. (I don't mean to sound snarky here.) People have been known to jump tracks, and the world keeps on turning. Their choice over religious doctrine to adhere to is still going to lead them on the same path. To where they were going all along.

Now, I think a better question is "Are they more rewarding?" or "Are they more enriching?" "Do they shed more light?" And that is a case-by-case answer, but one based on too many variables and so highly personal is scares me. But it sure is fun to think about and talk about. Personally as a performer, I find the Castellucci production most interesting and demanding to perform. There have been real personal benefits to working alongside Roméo and his team. I feel different as a person. More enriched. Somehow wiser and more in touch. (which for this tenor means I act like I'm 17, instead of 12.) But then, I just opened last night. Ask me again in a month. :-)

What should be "purpose" of Wagner productions today--to attempt a realistic reproduction of his intentions, or something else? 

Ooo. That dirty S-word again. :-) I can tell you, now having done 2 Regie Nouvelle productions of Parsifal, and 2 Regie Nouvelle productions of Don Carlos, the big thing my wife asks of me is to "please find a nice, traditional production of these pieces. I want to know them from that view too." So I'm looking forward to getting to Amsterdam to do that.

The only should I will adhere to is to continue to work in productions that do not disdain their audience. Nothing more. Nothing less. We are there to serve them and to hold their attention. Its a tricky thing: to perform. A hard line to walk, to serve and to pique.

One thing has not changed: the purpose of the goal. To express and to move. To demand and console. To destroy and to build up. To dismantle and to unify. And for that, pushing boundaries feels essential.

Finally, for my mother's "What's it all about?" I think I'll have to answer that tomorrow. My navel hurts from so much introspection.

Regie Nouvelle. There. I said it. One last time. :-b