Bluebeard's Castle

Béla Bartók opera - concert performance sung in Hungarian, conducted by Pierre Boulez
Boulez: Le visage nuptiale; Begleitmusik zu einer Lichspielszene Op.34

Performers Michelle deYoung (Judith); Lászlo Polgár (Bluebeard); Sandor Eles (Narrator); Françoise Pollet (soprano); Katharina Kammerloher (mezzo soprano); BBC Singers; BBC Symphony Orchestra, Pierre Boulez (conductor)
Venue Usher Hall
Address Lothian Road, Edinburgh
Reviewer Kenny Morrison

Bartok's version of this extremely sinister French 'fairy tale' is one of the most disturbing pieces of music in the repertoire. The tension builds throughout and the whole effect at once frightens and delights, worries and amazes. Bartok was practically close to suicide when he wrote this piece, and it is in its simplicity of form that it finds its most sinister aspect.

To hear Boulez conduct this is quite an experience. It's like his party piece, really, and he knows it so well that it cannot fail to impress and move. He really is one of the best conductors we have; with unbelievable control over his orchestra, he creates a perfect sound and, on that, there is little more to say. The playing was, if not very nearly perfect, then very actually perfect!

The Narrator, chosen with care for his extremely haunting voice, walks on at the beginning, gives us the prologue and then the piece begins. Michelle DeYoung was wonderful as Judith. it's a very difficult part, with a wide range, but she takes it in her stride.

Her voice beautifully portrayed the sudden lapses between absolute love and fear, pity and hatred that Judith experienced throughout. There were parts where she was a little quiet (or the orchestra too loud) but it didn't matter - she was a very fine Judith indeed and her Hungarian pronunciation was just right.

Lászlo Polgár was a wonderful Bluebeard. He looked far too kind, really, to play him but his deep, imposing voice had just the right power and correctness to excite the emotions of pity that I think we ultimately have for Bluebeard, antihero that he is. He does love these women after all, and it is pity that we feel for him.

Before the Bartok, we heard Le visage nuptiale, one of Boulez's own compositions, and, though I am not taken with the great man as a composer, Françoise Pollet and Katharina Kammerloher gave fine portrayals. The Schoenberg Accompaniment to a Film Scene was played with fire, and kept us on edge throughout. I really did feel privileged to hear Pierre Boulez. He is a master.

© Kenny Morrison. 31 August 2001