At the Teatro di San Carlo, Krzysztof Warlikowski's double bill of Béla Bartók's Bluebeard's Castle and Francis Poulenc's La Voix humaine represents a deep dramaturgical exploration of the traits and themes that intricately link the two works through their shared emotional intensity. This masterful and thought-provoking production was first seen at the Opéra de Paris in 2015 and was brought to Naples by Stéphane Lissner (who commissioned it as Intendant in Paris). Warlikowski challenges traditional narratives and offers a renewed perspective on these 20th-century masterpieces. Strong performances, and an innovative, thematic staging make it a standout production.
The director highlights the complementary nature of the two works, where the journey of Judith in the depths of the human soul in Bluebeard’s Castle sets the stage for the emotional unraveling of Elle in La Voix humaine. This continuity creates a cohesive narrative line that enhances the audience’s understanding of the characters' inner worlds.
In Bluebeard’s Castle, Małgorzata Szczęśniak's set design reflects a modern, dispassionate environment, which contrasts with the mythical and timeless nature of the story. The stark setting helps focus the investigation of Judith's psyche as she delves into Bluebeard's castle and, metaphorically, into his mind. The lighting design by Felice Ross also plays a crucial role, using shadows and light to accentuate the suspense and horror as each door is opened, revealing the dark secrets of Bluebeard’s past.
John Relyea as Bluebeard and Elīna Garanča as Judith delivered powerful performances. Relyea’s intense bass echoed the very essence of Bartók's enigmatic figure, while Garanča brought a mixture of inquisitiveness and anxiety as she uncovered Bluebeard’s secrets. Their performance left me spellbound, mesmerised by the raw intensity of the liaison of power and desire they disclosed. The playing of the brass and winds enhanced the haunting and immersive atmosphere of the opera.
In La Voix mumaine, Barbara Hannigan’s portrayal of Elle was both enthralling and heartbreaking. Warlikowski seems to suggest that Elle is another of Bluebeard’s wives, which adds a layer of continuity and deepened the exploration of the female psyche. Hannigan’s performance was noteworthy for her intensity and vulnerability, capturing the raw emotion of a woman in the throes of despair during a final phone call with her lover. Her interpretation emphasised the psychological and emotional continuity between Judith’s journey in Bluebeard’s Castle and Elle’s breakdown. Her physicality on stage, the slumped postures combined with vocal agility, brought a visceral quality to the performance that resonated deeply.
Edward Gardner's conducting was masterful in orchestral control and sensitivity, bringing out the dramatic and psychological nuances of both works. His approach to Bartók’s score stressed its stark contrasts and underlying tensions, as he meticulously balanced the brooding orchestration with moments of lyrical beauty. Gardner’s ability to draw out the subtlest details from an inspired San Carlo Orchestra helped paint the eerie, unnatural nature of Bluebeard and Judith's relationship, his pacing carefully controlled to build suspense.
Poulenc's one-woman opera relies heavily on the interplay between orchestra and soloist to convey the protagonist's inner turmoil. The orchestra's sensitive accompaniment ensured support to the protagonist, rather than overwhelming her, and Gardner's attention to dynamics and tempi was crucial, the playing closely following the inflections of the text.
