A kékszakállú herceg vára (Bluebeard’s Castle) opened on Sunday night (October 11th) at the National Opera, and they’ve come up with the intriguing idea of giving it twice. This is symbolist drama focussing on the psyche of the characters, so it is certainly a piece that can be presented in different and contrasting ways. But can it be made to work twice?
In this production, the answer is emphatically yes. The plot is familiar enough. It is played in modern dress with minimal stage settings amounting to little more than a red leather sofa and a handful of props. The constantly changing effects are created by the use of six large two way mirrors which reflect or filter video images projected into the set. This device, along with some clever lighting, serves to drive the whole production with no pretence of realism, but the visual impact is arresting and convincing.
In the first version, Duke is worldly, quietly assured, apparently in control. Judit is nervous and uncertain. There is a brief sense of the passion that could have been as the sunlight streams in from the castle garden, but it fades as she persists in finding out what is concealed behind the remaining doors and, in so doing, seals her own fate. The Duke is left alone on his red sofa, apparently unmoved and accepting of his lonely fate. The relationship is turned on its head in the second version. The video imagery is more surreal. Judit is now the seductress, carefully applying lip gloss in contrast to the Duke, now transformed into a clown, his makeup smearing repeatedly across a glass. The first version is a fairly static affair, the characters apparently tiptoeing around each other. The second is altogether more energetic, and the sexual energy of the piece, barely evident in the first half, is very apparent now. On the face of it, then, two opposing and contrasting views of the piece, but there is a neat sting in the tail which makes this a very telling theatrical experience. Director Hartmut Schörghofer, who also designed the sets, has come up with a production of considerable merit.
Bluebeard is first and foremost an ensemble piece with just two players on stage throughout. Viktória Vizin as Judit and Balint Szabó as the Duke positively spark off each other. Both were in fine voice and gave assured and convincing performances, but this was also acting of considerable quality. This is, after all, symbolist theatre, and there is little by way of action to divert attention. To hold an audience not once but twice through the same piece is no mean achievement. Adam Fischer was masterful at the rostrum providing two quite different but totally convincing readings of this incredible score of which he apparently had complete mastery. In this, he was admirably served by the orchestra, which consistently turns in fine performances and is surely amongst the finest opera ensembles in any of the great houses. All in all, this is a memorable evening. Do not miss it.
Non-Hungarian speakers will be pleased to learn that there are English subtitles. Further performances October 14th, 16th, 18th and 24th.