Schreker - Die Gezeichneten / Anne Schwanewilms, Robert Brubaker, Robert Hale, Michael Volle, Wolfgang Schone, Mel Ulrich, Kent Nagano, Salzburg Opera

I largely support the comments of the first reviewer who arrived here. I found this production to be pretty much a loss visually. The set with the huge reclining statue had possibilities, perhaps, but not much came of it -- in medium shots it looked like an empty desert. Although I liked Carlotta's costumes very much, all the noblemen in the beginning looked like extras from David Lynch's film version of Dune, dressed in high leather. The central character of Alviano is no longer deformed in this version; at least, not physically. A glam cross-dresser here, he is portrayed in a manner not very compelling to me. All in all, there wasn't that much for the eye. That leaves us, of course with Schreker's music, which is lush and enveloping, but since this DVD isn't all that wonderful visually, except perhaps for Carlotta, I'd suggest you just get a cd of the opera -- the rendition on Decca conducted by Zagrosek is recommended -- and wrap yourself in sound.

With the advent of Decca's CD series "degenerate" art the name of Schreker has (along with Zelimsky) gathered some momentum in CD recordings but less so as far as DVD. I gather that Der Ferne Klang is his masterpiece, but the only DVD is Die Gezeichneten. I would have preferred the former, but in a "leap of faith" bought the latter. At this point I have only listened to it once, hardly putting me in a position to make critical judgements but that's never stopped me before but I can claim to have listened to opera for over sixty years so that I am far from being a tyro.First off I read the comments posted regarding the cutting of around twenty minutes of the score. I gather that most of cuts are instrumental and given Schreker's great mastery of orchestration it is a pity that these cuts were made. Additionally I would have preferred a more conventional representation. I usually have enjoyed Lenhoff's productions of Lohengrin and Parsifal, but the libretto of the opera under consideration is not a model of clarity given the changes made, e.g., Salvago's cross dressing. On the basis of one viewing I see no sense other than it gives the artist something to do.The vocal line is not one that Schreker is inspired to invest much in the way of melody although repeated viewings may change my feeling in this area. Even Richard Strauss at his most arid moments brought more to his operas than Schreker, while they both share a mastery of opulence and orchestral beauty. Of course the story is not one that would appeal to Strauss, but I think his (Schreker's) inability to come up with some vocally memorable "tunes" will keep this opera from ever entering the repertoire of most companies; hence, a festival such as Salzburg will probably remain its sole venue. Perhaps Munich or Berlin would also consider it.I confess that one of the main reasons I was intersted in acquiring the set for was for Schwanewilms; her recording of the View Letze Lieder is quite beautiful. Alas Schreker has not given her any moments of transcendent beauty, but then that is a fault he shares with the remainder of the artists, all of whom are superior singing actors.Even though DVD's have been with us a short time, it is now quite easy to end up of multiples of many works, and I am guilty already of this. I am interested in hearing other works from composers (for whatever reason) who have been given short shrift from opera houses and recording companies and the DVD is an ideal medium of enlarging the experience of seeing works that one has only read about--many times as only a footnote. For this reason I would probably invest in a DVD of Der Ferne Klang.

IT IS UNFORTUNATE THAT STAGE DIRECTORS FEEL COMPELLED TO "INTERPRET" OPERAS IN ORDER, PRESUMABLY, TO MAKE THEM MORE PALATABLE TO JADED CONTEMPORARY AUDIENCES. THIS IS A CASE IN POINT. A SUPERB CAST, AN INTRIGUING SETTING, AND SOME INEXPLICABLE STAGE MANEUVERS, WHICH HAVE BEEN DISCUSSED BY OTHER READERS. BUT THE MUSIC AND THE SINGING HOLDS. SO, THE PROTAGONIST IS NOT MARKED BY A PHYSICAL DEFECT, BUT BY A PSYCHOLOGICAL ONE: HE IS NOT A DWARF BUT A CROSS-DRESSER. HE STILL IS A "MARKED" INDIVIDUAL. FORGET STRAUSS; THIS WORK IS FAR CLOSER TO LULU AND OTHER OPERAS WHERE THE FEMALE ENDS UP PREFERRING A MACHO TO AN ARTIST. NAGANO AND BRUBAKER RE SIMPLY SUPERB.

I've first learned and listened to die Gezeichneten with Zagrosek's Decca recording, which has no cuts. I've then discovered this production. Guys, stop being peaky about cuts or no cuts - one still understands the storyline, and even though you'd miss some beautiful moments in this DVD, there's enough gorgeous beauty. Brubaker's acting is TERRIFIC, Schwanewilms is gorgeous, and their second act scene is incredible. But the winnner is the orchestra. Nagano OWNS this kind of complex score. From the very first bars of the prelude, and with the help of very good recording qualities - even on my primitive computer - one can seize all that's going on - with more lushness and depth than in any recordings of the piece. So just let you be taken away by this immense opera - the staging is really convincing, the singing top-notch, and the end... well, it's more moving than anything else... This is a great production.

This is a composer who slipped under my radar. The music like Strauss is a worthy successor of Wagner. I found this production very well sung and conducted- well we do have Kent Nagano so could it be otherwise. However I found the set wearisome and this spoiled for me an otherwise excellent performance.

Eine wunderbare Musik, üppig und schillernd, kostbar! Die "Wiedererweckung" von Franz Schrekers Oper "Die Gezeichneten" ist ein Geschenk an alle Freunde von prachtvollen Stimmfesten. Anne Schwanewilms und Michael Volle, aber auch alle anderen Mitwirkenden sind stimmlich und darstellerisch äußerst präsent. Die Inszenierung von Nikolaus Lehnhoff paßt meines Erachtens ausgezeichnet und vermeidet Peinlichkeiten. Kent Nagano entfesselt das Orchester zu einem wahren Klangrausch! Ich bin begeistert und hoffe, dass diese DVD viele Käufer findet.

En complément des informations pertinentes déjà apportées par Denis Urval, je juge utile de brosser ici les grands axes d'une intrigue largement méconnue, d'autant que cela me permet de mieux faire comprendre mon attitude critique vis-à-vis de la mise en scène de Lehnhoff.L'action se déroule dans un 16e siècle improbable sur une île à proximité de Gênes. Alviano, négociant immensément riche, y a fait bâtir un merveilleux palais, son "Élysée". Rejeté de toutes les femmes en raison d'un physique désespérément bossu et laid, il a autorisé un groupe de nobles à utiliser l'île pour y violer de jeunes femmes enlevées dans Gênes. En expiation, il décide d'offrir l’Élysée à la république génoise, dont il reçoit le premier magistrat accompagné de sa fille Carlotta, artiste peintre d'une grande beauté. Il découvre avec émotion que la jeune femme ne s'intéresse qu'à la beauté de son âme. Mais le comte Tamare, flamboyant rival à la sexualité affirmée, revient à la charge pour séduire Carlotta.Je suis très partagé vis-à-vis de cette interprétation. D'un côté, il est heureux que "Die Gezeichneten" soit enfin disponible en DVD : la musique de Schreker est absolument splendide, envoûtante, et l'écoute du prélude donne envie de décerner 5 étoiles. La mise en scène est par ailleurs somptueuse.Mais l’œuvre a subi des coupures marquées. L'opéra de Schreker dure environ trois heures, ici il manque près de 30 minutes, notamment dans l'acte II, et la pantomime de l'acte III a disparu. Les responsables du Festspielhaus de Salzbourg ont-ils estimé que les mélomanes actuels ne resteraient pas assis pendant 3 heures pour une œuvre de Schreker ? Wagner a davantage de chance. Espérons que les choses évolueront au fil du temps...Je n'apprécie pas non plus un choix de mise en scène de Lehnhoff (dont j'ai aimé les Wagner). Chez Schreker, Alviano est un bossu monstrueux, dont Carlotta tombe amoureuse en le peignant. Lehnhoff en a fait un travesti qui redevient homme par l'amour d'une femme. Cela me parait malsain, non pas que j'aie quelque chose contre les travestis ; mais je ne comprends pas que Lehnhoff semble tout faire pour renforcer l'image de Schreker telle que colportée par les nazis (1). Je pourrais admettre cette "plus-value", si l’œuvre avait été mise en scène à maintes reprises au point de susciter l'ennui. Mais cet opéra a été donné très rarement, alors pourquoi ?Je vous recommande quand même ce DVD, pour découvrir "Die Gezeichneten" et sa musique luxuriante.(1) Une lecture alternative mais toujours déplaisante de ce choix de Lehnhoff, serait que les travestis sont des pervers ou des malades rédimables par l'action d'une femme (avec ici un succès partiel). Cela ferait alors de Schreker un auteur extrêmement petit bourgeois. Ce n'était sûrement pas l'intention de Lehnhoff...

Incredible staging of a incredible opera that should be a part of the standard opera repertoire. Thank god a Schreker opera is available on DVD, for it's not so likely that your local opera company will be putting one on soon (outside of the German speaking world.) A fantastic synthesis of traditional and the modern.

Très bel opéra. Cependant le petit carnet aurait pu être un peu plus explicite étant donné qu'il s'agit d'un opéra difficile à comprendre en ce qui concerne l'action.