This might make him an unusual choice of collaborator for Christof Loy, whose productions are typically sleek, enticing, and subtly economical. For the glamorous performers in Loy’s meticulously crafted stagings, the concept of physique du rôle seems unnecessary. Yet, despite Bernheim’s modesty, the tenor and the director proved to be a skilful combination in La Scala’s recent production of Massenet’s Werther – Bernheim’s second performance of the role – in Milan.
Initially displaying a charming, Stanley Tucci-like allure and a voice with an extensive range of tonal and dynamic variations, Bernheim’s gradual development into Goethe’s tormented poet was well worth the anticipation. He doesn’t brood or smoulder – at least not initially. Instead, Bernheim’s hipsterish Werther exudes a confident yet youthful insecurity and occasional intense desperation. Observing Werther interact tenderly with Charlotte and Sophie’s siblings in the first act, one can finally grasp why Sophie later tells Charlotte, “Tous les fronts ici sont devenus moroses depuis que Werther s’est enfui.”
Bernheim’s portrayal of Werther is fully realised in the nuances, with his torment over unrequited love manifesting as exquisite and painful variations in tone and dynamics, such as the heartrending moment when he learns of Charlotte’s marriage. Despite the tone becoming denser in such moments, it never feels forced or excessive. In his “Ô nature” entrance, it was the smoothness of his approach that stood out, transitioning into a robust voix mixte that culminated in a splendid diminuendo B-flat, ending a “Pourquoi me réveiller?” notable for its intensity and control. His amber-toned tenor flowed tirelessly throughout the performance; this was my first live experience of him, and I was thoroughly impressed.
This intensity and sophistication, combined with fluidity and grace, made Loy an exceptional collaborator. His interpretation of Werther remains true to the elegant, minimalist mid-century style he is known for, while accentuating the subtle nuances of Massenet’s score to create a production that feels particularly vibrant and detailed. The intricate interplay between indoor and outdoor settings (a feature of Johannes Leiacker’s sets, expertly illuminated by Roland Edrich), as well as the balance between internal emotions and their external expression, either directly or through art, is a thoughtful and subtle highlight of the opera.
Conductor Alain Altinoglu seemed to fully embrace this interpretation; although the challenging opening chords of the score initially suggested a different approach, his boldness in drawing out dramatic gestures from the La Scala orchestra (such as the notably powerful saxophone entrance in Charlotte’s Letter Scene) added a level of excitement and grandeur that extended beyond Loy’s intimate staging.
Even the sense of intimacy was meticulously crafted; in this production, Sophie and Albert, Charlotte’s husband, are given more prominence (with Loy shifting the warning about Albert’s return from the Bailiff to Sophie). Francesca Pia Vitale’s creamy soprano was enhanced by a touch of grit in her role as Charlotte’s devoted sister, while Jean-Sébastien Bou made a stronger impression with his dramatic presence rather than his sharp but somewhat unfocused baritone.
Victoria Karkacheva was the only disappointment. While she has a glamorous appearance, her lack of charisma often made her presence forgettable. Her mezzo-soprano, while light, lacked depth, and the vibrato in her higher range took on an incessant, harsh quality. This was particularly evident during the Letter Scene, which fell flat and received only a smattering of applause midway through for a “Ces lettres” that barely made an impact. Karkacheva’s more winsome approach might suit her upcoming role as Olga in Eugene Onegin with Loy in Madrid better, though her portrayal of Carmen in Naples this autumn might suggest a preference for a more soothing approach.
Next to a sold-out new production of Turandot featuring Anna Netrebko that I’m missing, Werther, which has not been performed at La Scala since 1980, may have seemed the more delicate of La Scala’s summer offerings. Yet, its finely detailed intensity stands up well against anything Puccini and his followers might present later this month.
Photos: Marco Brescia & Rudy Amisano
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