{"id":89123,"date":"2024-06-05T00:00:21","date_gmt":"2024-06-05T04:00:21","guid":{"rendered":"https:\/\/operawire.com\/?p=89123"},"modified":"2024-12-04T08:54:43","modified_gmt":"2024-12-04T13:54:43","slug":"cd-review-hector-parras-les-bienveillantes","status":"publish","type":"post","link":"https:\/\/operawire.com\/cd-review-hector-parras-les-bienveillantes\/","title":{"rendered":"CD Review: H\u00e8ctor Parra’s ‘Les Bienveillantes’"},"content":{"rendered":"

This is the sixth of H\u00e8ctor Parra<\/a>\u2019s stageworks, but only the second by the Spanish composer to be issued commercially on disc. His earlier \u201cHypermusic Prologue<\/span><\/a>\u201c from 2009 was a mind-numbingly complicated sonic experience\u2014one of those conceptually overblown music-theater experiments that every \u201cserious\u201d European composer of the past decades has felt impelled to foist on audiences.<\/p>\n

But in the ten years since, Parra shed the pretentiously \u201cprogressive\u201d schtick in favor of a more direct operatic language. His 2019 “Les Bienveillantes,” recorded live by b\u2022records at its Ghent premiere, may as well be by a different composer. It\u2019s overwhelming for the right reasons\u2014an intense, three-hour behemoth that is almost too effective in its ability to probe the maggot-ridden recesses of the human heart. This is a work that leaves one feeling emotionally disemboweled.<\/p>\n

H\u00e4ndl Klaus\u2019 libretto\u2014mostly in German, with portions in French\u2014is based on a 2006 novel by Jonathan Littell. The title, translated in the book\u2019s English edition as “The Kindly Ones,” is a reference to the third of Aeschylus\u2019 “Oresteia” plays. Orestes is pursued by the mythical Furies, monstrous goddesses who torture him for his act of matricide. When the Furies reluctantly agree to grant him pardon, Athena bestows on them the name Eumenides, meaning \u201cgracious ones.\u201d<\/p>\n

“Les Bienveillantes” is a retelling of the “Oresteia” set during the Second World War. Orestes is recast as an SS officer, Max Aue, who\u2019s coerced into service after he\u2019s caught cruising for men in a Berlin park. At first, we\u2019re inclined to sympathize with his self-contradictory identity as a queer Nazi, even as we witness him participate in the most brutal episodes of the conflict: the Babi Yar massacre, the siege of Stalingrad, and Auschwitz.<\/p>\n

But over the course of the sprawling narrative, layers of psychological tissue are slowly peeled back, and we learn who Max really is. When he visits his mother and stepfather in France, the couple confronts him about an incestuous affair he carried on with his sister, Una. That night, Max hacks them to death with an ax. He\u2019s trailed for the remainder of the plot by a pair of detectives who stand in for Aeschylus\u2019 Eumenides.<\/p>\n

In an oft-quoted essay from 1962, social critic Theodor Adorno argued that it was impossible to represent an incomprehensible tragedy like the Holocaust through conventional artistic channels. For Adorno, a more confrontational musical idiom allowed modernist composers like Schoenberg to address the war with greater immediacy and authenticity: \u201cThe uncompromising radicalism of their works\u2026endows them with a frightening power that impotent poems about the victims lack.\u201d<\/p>\n

Parra has diverted from this tendency toward alienation. On the contrary, his score is steeped in seductive beauty. Max\u2019s opening monologue introduces a nocturnal texture that reappears throughout the score in various guises: a phantasmagorical swirl of sweeping harp, twinkling celesta, and sinuous English horn, all enveloped in a perfume of shimmering strings. Peter Rundel coaxes such intoxicating sonorities from the Symphonic Orchestra of Opera Ballet Vlaanderen that we\u2019re apt to miss what exactly Max is singing.<\/span><\/p>\n

Backed by this dreamy haze, he tenderly intones the paraphrased tune of a German lullaby. Only, its nursery-rhyme text has been replaced so that it now describes the dreadful division of labor that made the Holocaust possible by diffusing responsibility: \u201csomeone shows you a room \/ someone closes the iron door \/ someone\u2019s hand opens the tap.\u201d A sense of disgust sets in once we realize how easily we\u2019ve been manipulated. How could we find aesthetic pleasure in these heinous words?<\/p>\n

In many ways, Max stands as an allegorical representation of the German people\u2019s paradoxical nature: simultaneous purveyors of High Culture and wreakers of genocidal destruction. We\u2019re impressed by his refinement, his sensitivity, and his appreciation for music\u2014he\u2019s an ardent admirer of Bach, that quintessential deutscher Meister<\/i>. We couldn\u2019t imagine that he\u2019d possess the capacity for evil. So the bloody slaughter of his mother and step-father, who stand in for Aeschylus\u2019 Clytemnestra and Aegisthus, feels wildly out of character.<\/p>\n

We\u2019re willing to make excuses for Max. We assume that, like Orest, he was simply exacting his rightful revenge\u2014even if it isn\u2019t quite clear why they deserved it. And anyway, the murder wasn\u2019t committed consciously, but carried out in a sleepwalking stupor. The passage where Max surveys the carnage the following morning is accompanied by a piano sarabande reminiscent of the one from French Suite no. 5<\/span><\/a>. It\u2019s a mostly convincing pastiche of Bach, but it\u2019s marred by strange intervals that lend an uncanny quality, hinting at something unspeakably sinister.<\/p>\n

Indeed, the opera\u2019s sound world is steeped in decadence, conjuring an atmosphere of orgiastic excess and moral rot. Richard Strauss comes to mind. Obviously the plot is drawn from the identical mythic source as “Elektra.” Parra\u2019s score often evokes the sonic sadomasochism that reigns in Strauss\u2019 House of Atreus, with all its pricking, whipping, and slapping effects.<\/p>\n

But the sickening sensuality and putrefying prurience of “Les Bienveillantes” is more redolent of “Salome.” Max\u2019s incestuous obsession culminates in a scene far more disturbing than the Judean princess\u2019 necrophilic kiss. Left alone in his sister\u2019s home, he dons one of her dresses and performs what can only be described as an act of architectural copulation, making love to house\u2019s furniture and d\u00e9cor. A moaning half-step motive\u2014equal parts coital and queasy\u2014drives this perverted Liebestod<\/i>, which builds like a frenzied fever dream toward a terrifying climax.<\/p>\n

This is the kind of opera that scholars of the future will analyze and unpack in multi-volume monographs. But in some ways, it feels as if Parra was too self-consciously intent on producing a work that would rank alongside the great \u201cwar operas\u201d (his phrase) of the 20th century. Berg\u2019s “Wozzeck” and Zimmermann\u2019s “Die Soldaten” are quoted liberally, as is Shostakovich\u2019s “Babi Yar” Symphony. <\/i>And as in “Wozzeck,\u201d Parra incorporates instrumental forms into the dramatic structure of each scene. “Les Bienveillantes” is conceived as a baroque dance suite in seven movements. Though, this is how Littell organized the original novel, giving the chapters titles like \u201cAllemande\u201d and \u201cGigue\u201d to reflect Max\u2019s love of early keyboard music.<\/p>\n

In their mission to construct something monumental, the creators may have overcompensated in places.<\/p>\n

Klaus\u2019 libretto could do with some ample trimming\u2014it\u2019s possible to tell the same story just as effectively in an hour less. Max\u2019s monologues, in particular, tend to ramble on redundantly. And there are superfluous characters and episodes that serve little function. The most effective scene is, in fact, the briefest and least cluttered. Klaus wisely chose not to attempt a literal depiction of Auschwitz; instead, he encapsulates its horrors in a poem about ants carrying bits of human remains out of an oven.<\/p>\n

Parra sets these disquieting verses as a \u201cMenuet (en rondeaux)\u201d for Max\u2019s sister, Una. Soprano Rachel Harnisch traces the number\u2019s angular phrases with crystalline precision. Her tone is impeccable, but eerily dispassionate, establishing a mood of icy distance. This renders the orchestra\u2019s recurring \u201crondeau\u201d subject all the more shocking\u2014not at all like a refined courtly dance, but rather a pounding juggernaut of a theme that only happens to be in a minuet meter.<\/p>\n

As Max, tenor Peter Tantsits<\/a> rises to superhuman feats to take on what is no doubt one of the most physically, intellectually, and vocally demanding roles written this century. His performance is a master class in characterization. In the initial scenes, Tantsits\u2019 unaffected lyricism conveys a na\u00efve young man genuinely distressed by the war crimes he\u2019s forced to carry out. And there\u2019s something almost touching about his childlike inflection during Max\u2019s post-murder speech\u2014standing over his dead mother\u2019s body, he repeats the word maman<\/i> with sweetly innocent simplicity.<\/p>\n

In the second half of the opera, Tantsits vocally charts his character\u2019s breakdown. His delivery becomes desperate and unhinged, verging on sobbing and screaming. In a bizarre unaccompanied passage, he relates Max\u2019s tall tale about accepting a medal from Hitler and biting the F\u00fchrer<\/i> on the nose. The tenor\u2019s giddy giggles, cartoonish falsetto, and sarcastic outbursts makes it clear that we\u2019ve been dealing with an unreliable narrator spiraling into madness.<\/p>\n

As Max\u2019s mother, Natascha Petrinsky<\/a>\u2019s tessitura is set intentionally too high so that the mezzo consistently sounds like she\u2019s shrieking. It\u2019s as if we\u2019re hearing her filtered through Max\u2019s twisted mind\u2014an innocent woman transformed into a shrill harpy in order to justify his homicide. Tenor Gianluca Zampieri<\/a> plays the flatulent Dr. Mandelbrod as a grotesque clown, channeling Gerhard Stolze\u2019s legendary portrayal of the Captain from “Wozzeck” (whose leitmotif makes an appearance). Tenor Michael J. Scott<\/a> and bass-baritone Donald Thomson<\/a> add some comic relief as the bumbling yet persistent detectives; with their back-and-forth banter and exaggerated vocal contrast, they come off like a Laurel and Hardy vaudeville duo. Hanne Roos, Maria Fiselier, Denzil Delaere, and Kris Belligh embody a kind of Greek chorus, commenting on the action and providing madrigalian descriptions of some of the opera\u2019s ghastlier imagery.<\/p>\n","protected":false},"excerpt":{"rendered":"

This is the sixth of H\u00e8ctor Parra\u2019s stageworks, but only the second by the Spanish composer to be issued commercially on disc. His earlier \u201cHypermusic Prologue\u201c from 2009 was a mind-numbingly complicated sonic experience\u2014one of those conceptually overblown music-theater experiments that every \u201cserious\u201d European composer of the past decades has felt impelled to foist on audiences. But in the ten {…}<\/p>\n","protected":false},"author":74,"featured_media":89124,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[72,8],"tags":[10783,17888,22771,22772,7379,11760,22773,14077],"class_list":["post-89123","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-dvd-and-cd-reviews","category-in-review","tag-donald-thomson","tag-gianluca-zampieri","tag-hector-parra","tag-klaus-handl","tag-michael-j-scott","tag-natascha-petrinsky","tag-peter-rundel","tag-peter-tantsits"],"acf":[],"yoast_head":"\nCD Review: H\u00e8ctor Parra's 'Les Bienveillantes' - OperaWire<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/operawire.com\/cd-review-hector-parras-les-bienveillantes\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"CD Review: H\u00e8ctor Parra's 'Les Bienveillantes' - OperaWire\" \/>\n<meta property=\"og:description\" content=\"This is the sixth of H\u00e8ctor Parra\u2019s stageworks, but only the second by the Spanish composer to be issued commercially on disc. 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