HIPPOLYTE ET ARICIE
The story of Euripides’ "Hippolytus" concerns a young man, Hippolytus, who worships Artemis, goddess of the hunt and of chastity, and ignores Aphrodite. The latter punishes him by inflaming his stepmother, Phaedra, with passion for him, leading to a triple disaster.
When Racine took up the tale in "Phaedra," he catered to the tastes of his age by giving the young man a love interest, Aricie; and when Rameau needed a libretto for his 1773 opera, he used the Racine version, gave it a happy ending, and called it "Hippolyte et Aricie." This is the title of the Opus Arte DVD that holds a 2013 performance of the work, given at the Glyndebourne Opera House and conducted by William Christie.
I was going to ignore this "concept" production, but it gives me the perfect example for my talk on "How not to give an opera." Director Jonathan Kent explains in the program notes that his intent was "to reinvent Baroque opera for the 21st century" and follows up with a lot of abstract nouns to justify his staging.
He explains that the north of France can get very cold while the south is warm. From this, he sees the goddess Diane’s chastity as cold and Cupid’s love as hot. So he sets the prologue of the work in a REFIGERATOR! (Was he actually paid for mocking the opera thus?)
As with so many recent productions of operas of all periods, the major characters are dressed in the most un-colorful modern garb--Theseus gets a white suit, Phaedre a plain black dress.
In one scene, the chorus is decked out in bright red Baroque-style hunting outfits. In several others, they are dressed in the dullest possible dark outfits. And of course, just about everybody has to be barefoot.
Come on. If he thinks his audience will not accept Baroque opera done in the Baroque staging, why does he take on the job? There are scenes from other productions on You Tube done in the costumes of Rameau’s time. They are a pleasure to watch.
I cannot fault the singers, who have little say about the physical production: Ed Lyon (Hippolyte), Christine Karg (Aricie), Sarah Connolly ( Phaedra), Stephane Degout (Theseus), and the imposing Francois Lis (Pluton, Jupiter, and Neptune). The smaller roles are quite good. However, the too-contemporary choreography, so common in productions from this period, jars completely with the music.
This, then, is one of these DVDs that are best heard and not seen, unless one appreciates these childish directorial games. Perhaps if a director who trusts the work he is assigned to direct would bring the 21st century back to Rameau’s time, then I would be willing to watch and review it for its artistic merits.
Oh yes, Opus Arte still cannot find it worthwhile to give the track listings in the program notes.
Sharks, like any form of life, make an interesting topic for study. So we have on a BBC DVD "Perfect Shark," narrated by and starring Mike deGruy. His passion for underwater photography, and specifically the ways of the shark, is quite clearly shown in his idiomatic and enthusiastic (without overdoing it) delivery. And his points are made very clear by actual photographs of different sharks and computer imagery of extant and extinct species.
The title is, for once, apropos to his main thrust: seeing how the body of the shark makes it fittest to survive its given environment and food supply, as well as attracting the opposite sex when the necessary job of reproducing is felt.
As deGruy says, the steady state of things on Earth is change. And so he points out why extinct species failed to adapt to changes and how the extant species might find their perfect bodies and instincts become a handicap when future changes take place. It is all very interesting and the 50 minutes running time of this program go by very quickly. Subtitles, as always, help.
Frank Behrens reports on classical and Broadway music as well as recordings of books and plays for the Arts & Entertainment section.