Weber:Der Freischutz [Christian Thielemann, Adrian Eröd; Albert Dohmen; Sara Jakubiak; Staatskapelle Dresden] [C MAJOR ENTERTAINMENT: DVD] [2015]

The Dresden State Opera has been closely associated with Der Freischutz from the beginning. Weber was Kapellmeister there when he wrote it – although the actual premiere was given in Berlin. It was the last opera seen in the “old” Semperoper before it was destroyed in the 1945 bombing, and the first opera to be seen in the “new” Semperoper when it opened in 1985. This new production marks the 70th and 30th anniversaries of those events.The production will definitely divide opinion. Traditional productions of Der Freischutz can be very picturesque, if not a bit kitsch. This one could not be more different. Instead of the end of the Thirty Years’ War (1648), the director sets it in an “indeterminate period in the aftermath of war”, although it looks pretty much like Dresden, 1945 to me. The first Act takes place in a bomb-damaged townscape. Kuno’s cottage becomes a shabby room in a bomb-damaged house. The Wolf’s Glen scene takes place on a bombsite, with a few hanged corpses dangling in the background. As the scene opens, we’re treated to the sight of Kaspar cutting the head off a corpse with a large knife. Like I said, picturesque, it ain’t! Then we’re back to the townscape for the final act. The colour palette of scenery and costumes is very drab. Despite it’s grimness, I really enjoyed it, although I question whether all the superstition and “magic” stuff is really credible in such a “modern” setting.Musically the whole thing is terrific. The orchestra and chorus (which was originally founded by Weber) have this music in their blood, and deliver a brilliant performance for Christian Thielemann. It’s mostly quite brisk, especially the Huntsmen’s Chorus. All the singers are excellent – although Georg Zeppenfeld really steals the show as a superbly evil Kaspar. Andreas Bauer is a sonorous and commanding Hermit – despite looking like Rab C Nesbitt, it’s believable that he commands everyone’s respect – including Adrian Erod’s ever-so-slightly camp Ottokar. I also particularly liked Christina Lanshamer’s perky Annchen.Sound and pictures are both superb. Technical details: 24-bit LPCM Stereo and DTS-HD Master Audio 5.0.If you want a “traditional” production of Der Freischutz, you’re probably best off with the recent “Hunter’s Bride” film version, however if you’re prepared to accept something a bit different, this one is excellent too.

Weber lovers shoulds not hesitate. The best DVD version by far.

Originally set in an eighteenth century Bohemian forest at the time of the Thirty Years’ War, director Alex Köhler has moved the action forward to what could be post-1945 Dresden suggested by the bombed-out slum that evokes Germany’s wartime destruction. At first, I was skeptical of whether the scenic implementation would succeed. However, Axel Köhler’s staging, at the same time traditional and innovative, is a tremendous spectacle both for the performances and the remarkable visual impact. Costume designer Katherina Weissenborn has dressed the villagers in a mix of folkloric dress, semi-military uniforms and second-hand clothing. The colour palette is generally drab. It looks like Axel Köhler and his team have made every effort to make everybody and everything in this production as ugly as possible.The set is centered on a near bomb-damaged palace with a large staircase. A forest of huge trees is seen in the background. Everywhere is dirt and destruction. The first act looks quite conventional, but the air is tense, enhanced by Georg Zeppenfeld’s Kasper, dressed all in black leather bomber jacket, combat pants and boots.The second act opens with a split set. The girls’ bedroom is over a cellar where Max is about to prepare his rifle. It’s hard to tell on the video as the cellar is very dark, but it seems to be part of the concept and keeps focus on the girl’s bedroom. The terrifyingly haunted Wolf’s Glen scene is set deep in the forest. It is a fearsome place where bodies of criminals and enemy soldiers are hanging from trees. Caspar drags a dead body with him. As the act begins, he hauls out a knife and hacks off its head. Fast-moving back video projections together with alarmingly evocative sounds contribute to the gloomy scene. I must confess that I found this scene a bit overdone.In the third act we are back to the bombed-out slum, but it looks a little more tidy now. The Guild of Hunters and the Prince meet to watch the shooting contest. The villagers wear folkloric dress and the palette is now in discrete colours - quite beautiful, in fact.It seems almost unfair to single out individual performances in what is a fine ensemble effort. Michael König as Max has a powerful voice with an elegant quality to his high register. His fiancé, Agathe, is sung by Sara Jakubiak. She uses her sweet-toned voice to good effect. Her voice is beautifully shaded when required and her prayer is most moving. Christina Landshamer is a pure and winning Ännchen, singing with considerable charm. Georg Zeppenfeld is a very fine Kaspar. His resonant voice almost steals the show. The biggest highlight is Christian Thielemann’s conducting of the Staatskapelle Dresden with great attention to detail and every emotional nuance of the score brought out.The video direction is generally commendable. Admittedly, the movie itself is quite grim, dark and muted in its presentation, but that doesn't stop its 4K Blu-ray from being impressive. I have not seen the 2K version but Köhler’s Freischütz is definitely a staging that has benefited greatly from filming in 4K. Images are often very dark and it is really a difficult production to film. The whole stage shots and details (close-ups) both matter. The images of the 4K Ultra HD are very good with every nuance of detail popping right off screen. Nothing looks flat, but rather gives the image a greater sense of depth, even in the wider shots. Good examples are the Huntsmen’s Chorus and the charming Chorus of Bridesmaids - in fact, the entire third act, impeccable throughout, is a stunning demonstration of the superiority of the format. The only minor objection - the beginning of the Wolf’s Glen scene is so poorly lit for the cameras as to be almost imperceptible. I think 4K and HDR together would improve the quality of the images throughout on this dark scene. The sound is excellent.At a time when opera is going through a phase of reinvention as it attempts to be more expansive and inclusive, this release shows that romantic opera can still function today.