It has been said that ‘The Woman Without a Shadow’ is a kind of remake of The Magic Flute. There is something in that, because in this, very moralistic, fairy tale, too, the main characters are subjected to the most terrible ordeals, which, if endured well, will make them better persons. You can also detect a ˜Pelleas-like” symbolism, and Das Rheingold and Siegfried are nowhere far away either. But, simply put, this opera is mainly a kind of glorification of married life enriched with many children

˜FROSCH”, as the opera is called in the corridors, is considered Strauss’ most difficult opera to cast – one of the reasons why it is almost always cut. I think this is a pity, all the more so since the ˜melodrama” (the Empress’ outburst when she realises that the Emperor is already almost completely turned into stone), among other things, is also cut, and I think that (along with the beginning of the third act) it is one of the opera’s most exciting and dramatic moments.

DVD’S

GEORG SOLTI, 1992

In 1992, Solti conducted a totally complete performance of the work in Salzburg. Götz Friedrich’s direction was considered particularly strong at the time, but I do not find it entirely satisfactory. The mise-en-scène is undoubtedly excellent, but he falls short in the direction of the characters, leaving the singers a bit awkwardly bouncing around on the stage..

The beautifully designed stage setting is lovely with very minimalist but realistic scenery, but the costumes are a bit bizarre at times. There is a lot of use of strobe lighting, which combined with violent musical passages can come across as rather too much.

Cheryl Studer is a dream of an Empress. Her voice, with its very recognisable timbre and beautiful pitch, is soaring, transparent almost, innocent and erotic at the same time. Thomas Moser is an attractive Emperor, perhaps a touch too light for this role, which occasionally causes him breathlessness and forced notes, but his singing is fine.

Robert Hale (Barak) was already far past his prime here, at less than 50 years old. A pity, because his portrayal is very charismatic. Eva Marton hurts the ears, but is so committed that you forgive her. Her aria of despair at the beginning of the third act is touching and gives you goosebumps.

Calosc TUTAJ