Met Opera: Jonas Kaufmann as Werther

Yesterday evening, I attended the new production of Werther that has been receiving so much attention in the media lately, primarily for the performance of tenor Jonas Kaufmann in the title role.

It's always intrigued me that Goethe, considered (along with Schiller) the greatest of  all German poets, had his two best known works, Werther and Faust, adapted by French composers, Massenet and Gounod respectively, when there were extant so many German composers of genius who should have rushed to take on the task.  Whatever the reason, it was a great stroke of luck for for opera lovers that Massenet took on the task and completed the adaptation himself.  Though originally rejected by the Paris Opéra-Comique for being "too serious," Werther proved to be the composer's masterpiece.  Though Massenet's works are not as popular today as they were in the nineteenth century, I think this neglect is unjust.  His music at its best, as in the opera Thaïs, can be hauntingly beautiful.  It is a perfect fit here in this sturm und drang tale of a broken hearted young poet who kills himself for love.

My own favorite tenor was always Alfredo Kraus whom I heard sing the part of Werther at the Met back in the 1980's.  I always considered this role his greatest achievement, and I was curious to see how well Kaufmann would handle it.  It's of course impossible to compare two performances thirty years apart - memory is too unreliable - but it seemed to me that Kaufmann did full justice to the role even if he never quite reached the heights once attained by Kraus.  Kaufmann's singing was especially effective in the crucial third act where Werther, held in the grip of uncontrollable passion, confronts Charlotte and then in despair determines to end his life.  His aria Pourquoi me réveiller? rightly drew thunderous applause from the audience.

The remainder of the cast, supported by the workmanlike conducting of Alain Altinoglu, performed very well together as an ensemble.  Sophie Koch as Charlotte and Lisette Oropesa as Sophie both handed in memorable performances.

The new production, updated from the eighteenth to the nineteenth century, by Richard Eyre is another great success for the Met this season.  Though it employs a  number of high tech devices, such as the projection screens used in the Interlude between the third and fourth acts, these are never overly distracting and add to the audience's enjoyment.  The sets are the creations of Rob Howell and are quite evocative.  For example, the parlor of Albert's aristocratic mansion that's shown in the third act provides a tense setting for Werther's explosive exchange with Charlotte.  The trappings of wealth in the rich man's home stand in stark contrast to the bare furnishings of Werther's garret in the final act.