Vanessa

Although Samuel Barber’s 1958 opera was generally well-received at its New York premiere, the work’s neo-romanticism quickly fell out of favor, and Vanessa declined into relative obscurity, even after the composer compressed the original four-act structure to three in a 1964 revision. Over the last two decades, however, Vanessa has enjoyed a modest revival, which this superb 2018 production from Glyndebourne should help accelerate. The libretto by Gian Carlo Menotti centers on an obsession. Vanessa has lived a reclusive life for 20 years with her mother the Baroness and niece Erika, awaiting the return of her lover Anatol. When Anatol comes back, however, he is actually the man’s son, who quickly seduces Erika and, needing money, proposes to her. Vanessa and Erika vie over Anatol, and when complications—including pregnancy—are painfully resolved, one of the women is left alone and bereft. Keith Warner’s revival of the work, based on the 1964 version, succeeds on virtually all levels. Jakub Hrůša elicits lush playing from the London Philharmonic. The singing and acting of soprano Emma Bell (Vanessa), mezzo Virginie Verrez (Erika), and mezzo Rosalind Plowright (the Baroness) are splendid, and tenor Edgaras Montvidas transitions persuasively from gentility to caddishness as Anatol (Donnie Ray Albert is also excellent as the family’s reflective doctor). Ashley Martin-Davis has created an evocative set, along with elegant costumes. Perhaps Vanessa will never enter the regular repertory, but Warner’s lovingly-rendered staging shows that it is definitely worth witnessing. Presented in DTS 5.1 (DTS-HD 5.1 on the Blu-ray release) and LPCM stereo, extras include a behind-the-scenes featurette and a cast gallery. Highly recommended. (F. Swietek)