Colin's Cultural Corner
Die tote Stadt (The Dead City) - Korngold - ENO
London Coliseum 8/4/23
Spent the day in and around Covent Garden before this one as it was a lovely sunny day and the flowers were in bloom in the park and the trees were all bursting forth with a lovely flush of green. Spring is underway and Life is burstin’ out all over even though it’s not June.
My perambulations through the finest Royal Parks in London and along the Thames, squinting against the sunlight, stopping for coffee under the dappled shade of a lime tree, sitting on the grass and listening to the birds singing their songs of joy and courtship set me in a fine mood for an evening at the opera. Especially when it’s an opera so full of melodrama and high camp like this one.
First a bit of history. Die tote Stadt is a three act opera written by Erich Wolfgang Korngold when we was 23. He’d already written two other operas before he was 18 along with a number of sonatas. He’d re-orchestrated, re-arranged and basically recomposed a number of operettas by Johann Strauss II.
Born to a Jewish family in Vienna he fled to Hollywood in 1934 to write the score for the Errol Flynn film Captain Blood. He scored almost all of Flynn’s subsequent films and won a couple of Oscars and more nominations than anyone really needs.
Cited by the likes of John Williams as being an inspiration, he is regarded as single-handedly creating the concept of an orchestral score for movies.
His success isn’t a real surprise given that he composed a ballet at age 11. Not just some notes scribbled on a page and hung up on the fridge door for his parents to kvell over but rather one performed at the Vienna Court Opera at the express request of Emperor Franz Josef. At age 12 he’d made live-recording piano music rolls. His first orchestral score he completed age 14.
In 1909 he played his cantata Gold for Mahler who called him a “musical genius” and said there was no point enrolling him in a music conservatory as his abilities were already far beyond what he’d learn there. Richard Strauss refused to teach him because he said he’d rather take lessons from him than be so presumptuous that he could teach Korngold anything.
So he’s a big thing. And talented.
This piece is based on the 1892 novel Bruges-la-Morte by Georges Rodenbach. I’d never heard of the author or the novel before but it’s worth pointing out that not only was it the first work of fiction illustrated with photographs but it’s also the inspiration for another novel (D’entre les morts) which Hitchcock filmed as Ver5go. So it’s an important work with themes we’re familiar with.
Right, now to the opera itself.... after praising the staff at the London Coliseum box office who moved me from a cramped seat in the Upper Circle to a lovely aisle seat in the second row of the Dress Circle without being asked. They saw my stick and just pulled me aside for the upgrade.
Now to the opera! Finally!
Curtain up. And we open on a clearly 1920s inspired room set. It’s a massive room. Art deco lights. Wood or marble paneling. A fireplace. A glass display case containing a wedding dress with an impossibly small waist. A hospital bed covered in red roses in the centre of the room.
Enter Paul. (Well really enter the Maid and a family friend just to deal with exposition.) He’s mourning his late wife. The wedding dress is hers. This is her room. It’s where she died. It’s become a shrine to her and even has, above the fireplace, an almost alter where he keeps a huge amount of her hair.
He’s surprisingly chipper! He says/sings that he’s met a woman whilst he’s walking around Bruges, and that he’s convinced she’s his dead wife Marie. He’s invited this woman to the house that afternoon and is filling the room with roses.
She turns up. She’s an actress and dancer and a bit of a gold digging femme fatale. He calls her Marie. She says she’s called Marietta. They flirt. Through song obviously.
He invites her to stay (presumably for ever) but she says she can’t as she’s got to go to the theatre for rehearsals.
He’s upset that she’s an actress and dancer. He’s not quite as upset as he should be when she dances a supposedly provocative dance for him which is unintentionally quite funny because of the fact that the singist playing this role really can’t dance.
He declares that he loves her. She buggers off to the rehearsals and leaves an umbrella behind.
She comes back two seconds later for her umbrella and for her roses. She says that he’s rich and maybe they should give it a go. At no point has she noticed the hospital bed in the middle of the room. Personally I’d have thought that might have damped the ardour of even the most determined gold digger but this is opera so we let it slide.
They clamber on to the bed and, ahem, have intimate relations. As they do the ghost of Pauls dead wife appears and is a bit miffed.
This is where it gets very odd as it’s goes into a dream sequence that lasts almost until the very end of the opera. Marie (the dead one) and Marietta (the live one) argue and Marietta dances on Marie’s coffin during a beautifully observed religious celebration.
Side note - it’s apposite that I saw this on Easter Saturday as the religious celebration mentioned is clearly Easter. They sing about the pascal lamb.
Anyway in the dream sequences Marietta decides that Paul is insane and she wants to leave. Of course he doesn’t want her to so tells her to go. She, wanting to leave, stays and torments him by setting fire to Marie’s dead hair shrine.
Paul sings that they are nothing alike and strangles her with Maries hair. He wakes from his dream and realises it’s a dream as there’s no body there.
He leaves Bruges with his friend Frank. And that’s the final curtain.
I know this doesn’t sound like fun but it really was. Mainly because it was full of film noir type lighting plus a bit of pole dancing and some of the weirdest casting choices ever made. Marietta and Marie are supposed to be near identical. They are far from that. It would be like casting Monroe in Prince and the Showgirl with Diana Dors from her time in the Two Ronnies. And the acting generally was giving full melodrama.
I loved it!
