Impressive opera rediscovery

Premiere on October 16^th, 2022

By Oxana Arkaeva

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Majestic, immense, mighty! The premiere of the new production of Alberto Franchetti’s rediscovered opera “Asrael” at the Opera Bonn on October 16^th impressed with its amplitude and high-level of production. As a part of the “Focus 33” project of the Opera house that aims to bring back music theatre works that disappeared from the repertoire after 1933 / 1945 it attracted the vast international audience including the descendants of the composer´s family from Italy.

First premiered on February 11^th, 1888, at the Municipal Theatre, Reggio Emilia, “Asrael” was an immediate success that overnight made a then-unknown young composer a star and a great hope for Italian music at the turn of the 20^thcentury. The offspring of a wealthy family of bankers, Franchetti received generous help and support from his parents. His mother, Luisa Sara Rothschild, influenced his musical development, and his father was by far the only financial source that made the premiere of “Asrael” possible.  

“Asrael” is a legend in four acts based on the libretto by Ferdinando Fontana. Fontana belonged to the Milanese artist group Scapigliatura, which glorified anti-bourgeois protest, sensual love, and evil. Asrael is mentioned in Jewish and Islamic texts as the Archangel of Death. He lives in heaven and loves an angel Nefta, who symbolizes Christian love. Unfortunately, both are separated by Lucifer, who forces Asrael to hell, as God banishes him from heaven. 

“Asrael” is a legend in four acts based on the libretto by Ferdinando Fontana. Fontana belonged to the Milanese artist group Scapigliatura, which glorified anti-bourgeois protest, sensual love, and evil. Asrael is mentioned in Jewish and Islamic texts as the Archangel of Death. He lives in heaven and loves an angel Nefta, who symbolizes Christian love. Unfortunately, both are separated by Lucifer, who forces Asrael to hell, as God banishes him from heaven. 

The opera begins with Asrael and Nefta each being given a one-year “leave on earth” – for Asrael is being sanctioned by Lucifer, and Nefta, by the Virgin Mary. The imposed condition was that they had to bring back a soul from the opposite realm (heaven or hell) upon their return. Asrael and Nefta soon meet again, with Nefta as a nun Clothilde and Asrael as a soldier and an artist. Before God finally forgives Asrael and blesses the angel’s couple, Asrael is to be married to the king’s daughter Lidoria, which he refuses and becomes involved in a highly romantic liaison with “gypsy” Loretta. In the conflict between Lidoria and Loretta, Asrael’s body catches fire. Nefta sizes an opportunity and comes to Asrael’s aid bringing him back to heaven.

New York-born Christopher Alden has been directing in opera houses worldwide for over three decades. His major works in recent years include a cycle of Mozart’s Da Ponte operas in Los Angeles with Gustavo Dudamel and at the Opera Bonn the “Cavalleria Rusticana / Pagliacci” and “The Makropoulos Case” productions.

His Bonner “Asrael” is full of symbolism and action. Alden has divided the evening into clearly defined dramatic episodes by placing the action within the walls of a grand house (impressive stage design by Charles Edwards) in the Art Nouveau style. The basement of which is to symbolize hell, the ground floor earth, and the top floor heaven. The whole event unfolds as an impressive ride between war and heaven. War atrocities are executed by uniformed soldiers and conducted by the devil as a general. They are followed by love scenes from the artist’s studio and a pious-sounding ensemble at the sickbed in a hospital. The Angels-Choir (an impressive understudy by Marco Medved) is placed in the audience for the whole evening and comes on stage only at the end, all dressed in black (costumes by Sue Willmington) to attend a civic funeral.

The Italian publishing house Ricordi specially created the musical version for this Bonn production because, as apart from a printed piano reduction, no other materials exist. The version is based on an autograph score from the Berlin State Library, which is said to be close to the original. In addition to a very individual sound (especially at the beginning), the powerful orchestral score shows clear influences from Boito, Mascagni, Puccini, Berlioz, Strauss, and Wagner. The Angels choir (heaven) placed in the auditorium provides an extraordinary opportunity to physically experience the power of music and singing. The trumpeters (hell) placed in the foyer and on the balconies overwhelm with infernal noise and powerful sound. A striking depiction of the struggle between infernal armies and heavenly angels and a manifested counterbalance to the music’s opulence.

In addition to a very individual sound (especially at the beginning), the powerful orchestral score shows clear influences from Boito, Mascagni, Puccini, Berlioz, Strauss, and Wagner. The Angels choir (heaven) placed in the auditorium provides an extraordinary opportunity to physically experience the power of music and singing. The trumpeters (hell) placed in the foyer and on the balconies overwhelm with infernal noise and powerful sound. A striking depiction of the struggle between infernal armies and heavenly angels and a manifested counterbalance to the music’s opulence.

The young conductor Hermes Helfricht, the house’s first Kapellmeister, deserves great praise for his remarkable conducting and outstanding presentation of Franchetti’s mighty score. He managed to control the entire choir-orchestral-singer apparatus well and let everyone involved with concentration and extraordinary musicality through the evening. The Beethoven Orchestra Bonn delivered a first-class performance deserving to be placed in the same league with established international world´s orchestras.