locking up being
by Douglas Messerli
Béla Bartók (music), Béla Balázs
(libretto, based on a story by Charles Perreault) Bluebeard’s Castle / LAOpera, Dorothy Chandler Pavilion, the
production I attended was a matinee on November 2, 2014
Béla Bartók’s quite terrifying opera
of 1911, Bluebeard’s Castle, steals
from elements of the original Charles Perreault story, but expands the work
into a psycho-dramatic work that shows the influence of Freud, whose writings
on William Jensen’s novel Gradiva, a
work which has links to the Bartok work in the sexual obsessions of its hero,
had just recently been published in 1906-1909.
One might make interesting parallels between the Jensen and Bartok works in how Judith (Claudia Mahnke), recently married to Bluebeard (Robert Hayward) struggles throughout this short opera to cure him, in the latter case by attempting to open up all the seven rooms of his castle which he has purposely locked. The rooms are, obviously, different aspects of himself, elements of his past that he no longer wishes to consciously admit in his present life. Her hope is that by opening each of these rooms, she will bring light into Bluebeard’s castle once again, while psychologically curing him of his inability to face the past errors of his ways.
Going room by room throughout his castle, demanding the keys to his empire which he reluctantly but also somewhat willingly awards her, she uncovers his terrible history that includes torture, violence, great wealth, but also a secret garden, other vast land-holdings, and a lake—all built upon the blood and tears of those who have come before. Indeed, every surface of Bluebeard’s castle is described as oozing water and blood.
While in most productions of this opera the various contents of the six
rooms are expressed with corresponding colors—red, yellow, golden, blue-green,
white and black—Kosky has chosen to forego these for what seem to me as a few
cheap tricks such as vines being pulled from the sleeves of inexplicable male
alter-egos of Bluebeard (perhaps also suggesting Bluebeard’s male companions)
for the garden scene and hands full of tinsel tossed to suggest Judith’s
discovery of Bluebeard’s treasury. I have no difficulty with the round,
moon-like sphere upon which the actors circle in their door-opening treks; the
director has presented us with a kind of planetary manifestation that
immediately tells us that this tale takes place outside of time and space. But
the colors might have helped in clarifying what Judith actually witnesses,
while the occasional props Kosky chooses to present are simply
distracting.
Each is linked up by Bluebeard as representing the time in which he
first met them, and, accordingly, is associated with the passage of day from
sunrise to sunset. In short, in marrying and then locking away these three
women, allowing Bluebeard to gradually close himself off from any daylight
routine in his determination to “kill time.” If he now lives in the shadow of
time, his only hope of putting an end to it all is to also lock up the night,
which he suddenly reveals is the modality he associates with Judith.
Ironically, despite her attempts to bring light into Bluebeard’s life, she has
actually brought him the one missing element he needs to bring an end to his
existence, the pitch black of midnight. By locking her up as well, he locks
away being itself.
Here, once more, Kosky simply fails to comprehend the story in his
directorial decision to keep the stage lit while the curtain falls. It seems to
me that the moment Bluebeard has revealed Judith’s role, the moon-light orb
upon should suddenly be plunged into darkness. But this is another minor flaw
in an otherwise outstanding production of a work that should be performed far
more often.
Los Angeles, November 4, 2014
Reprinted from USTheater, Opera, and Performance (November 2014).
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