Sergei Prokofiev (1891–1953)
The Gambler,  Op. 24, opera in four acts (1915-17; rev. 1927)
Libretto by Sergei Prokofiev after the novella of the same name by Fyodor Dostoyevsky
Alexey Ivanovich – Sean Panikkar
Polina – Asmik Grigorian
Antonida Vasilevna Tarasevicheva (Babulenka) – Violeta Urmana
Vienna State Opera Chorus
Vienna Philharmonic/Timur Zangiev
rec. live August, 2024 at the Felsenreitschule, Salzburg Festival, Austria
Unitel Edition 811704 Blu-ray [132]

This Peter Sellars production of Prokofiev’s opera The Gambler achieved considerable success with audiences and critics alike when it it was presented at the Salzburg Festival in August 2024. Obviously having a top notch cast, a conductor who fully understands this complex score and the world class Vienna Philharmonic Orchestra and Chorus are factors that would augur well for almost any great opera. Indeed, and while this production takes a rather fashionable approach by bringing the work into the current day and injecting ideas and developments not in the libretto, it nevertheless allows the plot to unfold in a way that doesn’t significantly distort the story line or the characters.

Regarding this production, let me say that normally I would have listed the heading above differently: it would have read, “The Gambler, opera in four acts and six scenes”. But here Sellars has fashioned the action so that scenes don’t end, but rather evolve into the next one. Prokofiev wrote the opera as a through-composed work, and thus one might argue that Sellars’ continuous flow of the action works better here than it might in a more traditional style where there are arias, ensemble numbers and the like and where scenes end as either the curtain closes or the lights dim momentarily on stage.

Among other unusual aspects in this production are the sets, and their most outstanding feature is the seven huge round chandeliers that can strike the eye as miniature flying saucers or spinning tops. When hanging high they are of course just chandeliers, splashy and quaint albeit, and when lowered, enticing roulette wheels. They do add color to the otherwise dim and decadent atmosphere of this production. Green moss spreads across much of the stage bringing a sense of decay but also suggesting the action might be happening in a park. In the background there are three ascending rows of small archways that house mirrors, most of which are cracked.

As for the story as it appears in Prokofiev’s libretto, the action takes place at a hotel in the fictional resort of Roulettenberg. Alexei, tutor to the General’s family and often broke from his penchant for gambling, is in love with the General’s step-daughter, Polina. She is in serious debt to the Marquis, possibly her former lover. The General is also deeply in debt but equally concerned with Blanche, a demimonde with whom he is utterly smitten while blind to her opportunism. The General, Polina and Alexei await the arrival of Polina’s grandmother (Babulenka), who is also the aunt of the General. She is in ailing health and the General is hoping for her to die in order to inherit her considerable wealth. The last of the major characters is Mr. Astley, a wealthy Englishman and acquaintance of the others. While there is much plot development, I’ll summarize by saying that after Grandmother arrives and loses all her money, Alexei goes on an incredible winning streak at the roulette tables, and afterward gives Polina money to satisfy her debt to the Marquis. But she throws the money in his face and departs. Alexei, still ecstatic from his phenomenal lucky streak at the roulette tables, hardly reacts but then gleefully repeats that red had come up twenty times in a row for him.

Now in Sellars’ account of the story Polina is an activist for climate change and apparently other causes; the General is a corrupt contractor; Mr. Astley is a venture capitalist; and the theme of the opera is that all the players are gamblers, gamblers who play with our welfare, our financial security, the climate, etc. Yet, as I said earlier one can ignore or not even notice most or all of these elements and see the story as Prokofiev presents it, as an age-old tale of desperation by greedy people who put money above love, compassion and other normal human concerns.

As for the singers, none are less than compelling and at least two are outstanding—tenor Sean Panikkar and mezzo Violetta Urmana. Panikkar is intensely fixated on capturing every aspect of the complex character of Alexei—his excesses, his fanaticism and his obsessions, and he succeeds convincingly. His tenor voice never tires, nor does he ever show a lack of energy in enacting this demanding role. Violetta Urmana’s rich-toned mezzo voice and subtle dramatic sense create a Babulenka that is probably unsurpassed in other performances on record. I should really include Asmik Grigorian among the finest performers here as well, but her role often calls for her to maintain a low-key demeanor which leaves her fewer climactic moments. Still, she is excellent throughout both vocally and dramatically, vividly etching out the unpredictable and somewhat mysterious character of Polina. Peixin Chen, with his imposing bass voice as the General, and Nicole Chirka as Blanche also turn in fine performances.

As suggested earlier Timur Zangiev conducts the score with a total grasp on Prokofiev’s spiky style here, which is not as tuneful as the music in any of his other seven operas, including the sometimes very challenging The Fiery Angel. It’s not that The Gambler is lacking in  lyricism—indeed, it has many lyrical moments, especially after the arrival of Babulenka. Yet, that music is generally emotionally cool and, further, it’s the orchestra that more often carries the melodic lines rather than the singers. Nevertheless, this is one of Prokofiev’s great masterpieces of the stage and Zangiev never shortchanges the music, whether in Alexei’s wild and frenetic gambling scene or in the more subdued but intense moments such as when Babulenka, unsteady and defeated, reveals she has lost everything at the roulette table. The Vienna Philharmonic Orchestra always responds to Zangiev’s baton with accurate and spirited playing and the chorus sings brilliantly, though their part in this opera is limited.

Lighting and costuming are fully appropriate in serving Peter Sellars’ vision of this opera. Sound reproduction and camera work are excellent. As for the competition in this opera on video, there are two quite fine efforts: Daniel Barenboim on Unitel Classica, from 2008, has the impressive pair of Mischa Didyk and Kristine Opolais in the leads, and delivers a fine effort, which I reviewed here in 2011.  Valery Gergiev and the Mariinsky Theatre, from 2010, offer a somewhat more traditional production in faster tempos with good results all around. On CD there have been Rozhdestvensky (Melodiya) and Gergiev in an earlier effort (Philips) who deliver quite good performances, though Alexander Lazarev and the Bolshoi (Melodiya), despite fine performances too, are sabotaged by badly imbalanced sound that favors the singers overwhelmingly over the orchestra.

How does this new effort compare to the others? Musically, I can say it’s the finest on record, and the production must ultimately be judged as reasonably fine too, not least because, as noted earlier, you can look beyond Sellars’ interpretation if you find it puzzling or misguided, and see only Prokofiev’s. All in all, an exceptional effort!

Robert Cummings

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Cast
Alexey Ivanovich – Sean Panikkar
Polina – Asmik Grigorian
Antonida Vasilevna Tarasevicheva – Violeta Urmana
The General – Peixin Chen
The Marquis – Juan Francisco Gatell
Mr Astley – Michael Arivony
Blanche – Nicole Chirka
Potapych – Joseph Parrish
Prince Nilsky – Zhengyi Bai
Baron Wurmerhelm – Ilia Kazakov
The Director – Armand Rabot
First Croupier – Samuel Stopford
Second Croupier – Michael Dimovski
Fat Englishman – Jasurbek Khaydarov
Tall Englishman – Vladyslav Buialskyi
Gaudy Lady – Elizaveta Kulagina
Pale Lady – Lilit Davtyan
So-so Lady – Seray Pinar
Revered Lady – Cassandra Doyle
Doubtful Old Lady – Zoie Reams
Passionate Gambler – Santiago Sánchez
Sickly Gambler – Tae Hwan Yun
Hump-backed Gambler – Aaron-Casey Gould
Unsuccessful Gambler – Navasard Hakobyan
Old Gambler – Amin Ahangaran
Six Gamblers – Slaven Abazovic, Konrad Huber, Juraj Kuchar, Jaroslav Pehal, Wataru Sano, Oleg Zalytskiy

Production Details
Peter Sellars, stage director
George Tsypin, set designer
Camille Assaf, costume designer
James F. Ingalls, lighting designer

Video Details
Picture format: 1080i | 16:9
Sound format: PCM Stereo and DTS HD MA 5.1
Language: Russian – Subtitles: English, German, French, Korean, Japanese