Jonas Kaufmann offers sensitivity rather than passion in Royal Opera’s Werther — review

Europe had rarely experienced anything like the mania caused by Goethe’s novel Die Leiden des jungen Werthers (The Sorrows of Young Werther) in the late 18th century. “Werther fever” swept the continent as young men, seized by the example of the novel’s lovelorn hero, dressed like him and, in some tragic cases, apparently followed him on the path to suicide.

Massenet’s opera Werther did not arrive until 1892, by which time the fever had long abated, but it captures the frenetic passions of that period in its own way. This is one of the high points of French romantic opera, a score of unbridled intensity, and the chance to catch two productions running at the same time is not to be missed.

At the Royal Opera, revivals of the 2004 production have been the occasion to showcase leading tenors. That is the case again here with Jonas Kaufmann in the title role, though he does not come across as the fearless Wagnerian heroic tenor one might have expected. On the opening night, Kaufmann picked his way gingerly through the role, as if husbanding his resources through an indisposition. This meant there was little of Werther’s ardour, but a lot of the poet’s introverted sensitivity, relying on gently floated, soft singing and judicious musicality.

As Werther’s obsessive love is the powder keg that sets the drama alight, this left the opera short of its driving force. It was fortunate that Aigul Akhmetshina’s commandingly sung Charlotte had the scale to rise to the challenge and provide an alternate focus. This young mezzo’s voice fills the theatre effortlessly and it is hard to see any limit as to what she can achieve.

Casting from strength brought a powerfully sung Albert from Gordon Bintner and Sarah Gilford as a nicely winsome Sophie, and the orchestral playing was near-Wagnerian in its depth of colour and weight. Antonio Pappano has risen to new heights as he approaches the last season of his long tenure as music director, and the passion he draws from Massenet’s orchestra reaches boiling point. If Kaufmann can regain his full vocal health, this could be a memorable Werther. Even the old sets seemed more impressive than before.

★★★☆☆

To July 4, roh.org.uk

By contrast, Grange Park Opera, just outside the M25 at West Horsley, presented a new production. On paper, everything looked promising, but the ingredients did not gel, mainly because director and designer John Doyle failed to connect with the opera’s Romantic spirit.

Perhaps his minimalist production, with its emblematic trees (why not Christmas trees, referencing the plot?) and geometric entrances and exits for the singers, was meant to symbolise the hidebound society into which Werther was about to lob an emotional grenade. If so, it did not work.

Deprived of atmosphere, the central couple compensated by going overboard with the fervour of their singing. Leonardo Capalbo, so stylish in the past, made heavy weather of Werther’s music, forcing the volume and lunging at top notes as he pushed fevered emotion to breaking point. Ginger Costa-Jackson is a vivid performer, as she showed as the ENO’s Carmen earlier in the year, but the same brazen chest notes and extrovert character sit less well with dutiful Charlotte.

More traditional portrayals came from Dominic Sedgwick’s elegantly sung Albert and Iria Perestrelo’s sweet Sophie, and conductor Christopher Hopkins mostly kept the pace swift, no dawdling for sentimentality. Overall, though, this evening of unhappy extremes did not hold together.

★★☆☆☆

To July 12, grangeparkopera.co.uk