Tchaikovsky: Pique Dame.(Movie Review)

[] Guleghina, Borodina, Filatova; Grigorian, Leiferkus, Gergalov; Kirov Opera Orchestra and Chorus, Gergiev, 1992. Philips DVD 070 434-9, 179 mins.

The second version of this opera to appear on DVD is very different from the first, a 1992 production from Glyndebourne (Image Entertainment 5780). The Glyndebourne production is intimate and innovative, the whole thing played against a kind of giant Rorschach test. But there is a great deal to be said for the Kirov's traditional approach. The sets and costumes, though unsurprising, are attractive. The ballroom scene in Act II, for instance, is elegant and colorful, and the distant fireworks when the Empress enters are a nice touch. More importantly, though, the rational world conjured up by the eighteenth-century dress and furnishings is a perfect backdrop for the behavior of the irrational anti-hero at the center of this opera.

Were it not for the sets and costumes, parts of this production would look like a concert performance. There is a great deal of face-front singing and, except for the danced sections, not much movement. It was staged by conductor Yuri Temirkanov, which may explain why such a high priority was given to the projection of voices and the ability of the singers to see the pit. The result is a performance that is short on action but musically very strong, with impeccably coordinated ensembles and nicely balanced voices and instruments.

Valery Gergiev has assembled a wonderful cast. Gegam Grigorian sings the difficult role of Gherman with ease and polish. He is particularly impressive in the final scene at the gambling table, where he delivers his "What is our life?" aria with such credible sincerity that his subsequent breakdown is truly frightening. In his two scenes with the Countess, here played with imposing dignity by Ludmila Filatova, it's refreshing to hear both singers resist the temptation to chew the scenery, as others so often do, choosing instead to sing what Tchaikovsky wrote. Maria Guleghina captures Lisa's innocence both vocally and visually. The nervous edge in her voice in the scene by the canal is very effective, and her Act I duet with Olga Borodina is delivered with flawless intonation and sumptuous tone. Not surprisingly, Borodina's account of Pauline's romance is ...