Bregenz Opera Festival has become a must go and see for the opera aficionados that above all love the sometimes absolutely outrageous but always creative to the extreme use of the lake as a basis for the elaborate opera sets. Bregenz is a small medieval town on the Austrian part of Lake Constance, a large body of water between Switzerland, Germany and Austria. My daughter thought the coolest way to get to Bregenz from Verona was over some treacherous, tiny alpine mountain pass that would then lead us through Liechtenstein. She really wanted to close the loop of seeing all of the smallest countries in the world, but had me drive the hairpin turns!
The Bregenz Festival produces one new grand opera on the “Stage on the Lake” every two years and has a well-deserved reputation for making the impossible viable, exciting and worth the trip to Bregenz. This was the second year of their production of André Chénier, an opera in four acts by Umberto Giordano set in the times of French Revolution (1789-1795). Director Keith Warner and David Fielding, set designer, took as inspiration the painting The Death of Marat by Jacques-Louis David from 1793. Many months after the initial concept was approved and developed, the cranes and barges delivered a 60-ton head onto the platform in the lake water. The eyes and mouth opening; cast, chorus, supers and stuntmen running up and down the numerous sets of stairs (apparently over 150 stairs) connecting various stages and platforms — but that was only a part of the stage. There were multiple stages with hundreds of performers that included the aerialists, rock climbers and divers — and numerous cast members, including the tenor in the title role, jumped into the lake at some point. It certainly was a memorable production.
The orchestra of the Bregenz Festival is the Vienna Philharmonic which played beautifully under the baton of Maestro Enrico Calesso (but hidden from the audience other than two large screens simulcasting from their space). The cast was great — Serbian born tenor Zoran Todorovich, living in Germany, was in the title role, and soprano from Uruguay Maria José Siri as Maddalena de Coigny, to mention just the two. The unfortunate reality of the festival is that due to its location, everyone is miked and the sound then mixed which was not always perfect. Still, it was a wonderful experience and I am truly pleased to have been there, even in the rain. The show went on through the rain and the audience, pretty much like our last year’s Opera Al Fresco audience, didn’t move until the end.