Late last November, a friend and I attended an Opéra de Montréal performance of a favourite work, Richard Strauss’s Elektra. Soon afterward, the OdeM sent me an email asking for feedback and including a link to a website for the purpose. After answering a short, multiple-choice questionnaire, I took advantage of the comment box to file a short review and explain why, in this age of Met Live in HD simulcasts (which certainly aren’t without their issues), Opéramania screenings and plentiful DVDs/Blu-rays/downloads of superb productions, I probably won’t be a repeat customer in the foreseeable future. Here’s what I wrote:
For the most part, the staging was uninspired but inoffensive. However, sitting in a loge on the left side of the hall meant the entrance and steps to the palace, located far stage right, were invisible to us, and the director stupidly had a lot of the action take place there. Even Stage Direction 101 students are taught not to do this. The singers were fair, sometimes better, though the Klytemestra is in no way an actor. All in all, it was Nézet-Séguin’s night – a very lyrical, fundamentally romantic and ultimately convincing reading of the score, well supported by the orchestra. Unfortunately, the hall’s horrible acoustics made the sound qua sound hard to appreciate. Our loge was as close to being over the pit as it’s possible to get and the sound was muffled, unbalanced and never overwhelming (and in Elektra, of all operas, it should be overwhelming). Until such time as Salle Wilfrid-Pelletier is gutted, rebuilt and given credible, opera-friendly acoustics, I’ll find it hard to justify spending another $100 on a ticket. In other words, that “maybe” above [in response to a question asking whether I would attend again] would more accurately be “probably not.”
Never heard back from them. Not surprising I guess.
If you’re interested in watching a worthwhile performance of this milestone work, look for the recent Aix-en-Provence production – the last opera staged by Patrice Chéreau – on DVD and Blu-ray (to be more or less reprised at the Met and simulcast in local cinemas on April 30) or the peerless Götz Friedrich film with an all-star cast, including