It is the second time I have seen this production of Butterfly. The first was when it was premiered back in 2005, apart from the great music, I wanted to see the director Anthony Minghella would do. I was not disappointed then - it is beautifully staged, just enough oriental detail to evoke Japan, some beautifully filmic moments and all the drama and pathos of the plot.
Last night I was still as entranced as I was back in 2005. It still looks lovely. The costumes (particularly the extravagant outfit of Prince Yamadori) bring Japan to life in a riot of colour. The effects work well. And I still like Cio-Cio-San's child being a puppet (beautifully brought to life by Tom Espiner, Julia Innocenti and Laura Caldow).
It was a new Butterfly in the title role last night. The Russian-American soprano Dina Kuznetsova was wonderful. Her singing was clear and full of emotion. She looked good and moved well. She ticked all the boxes for a good Cio-Cio-San.
We cannot ignore Pamela Helen Stephen as her maid, Suzuki. Their duets were amongst the high points of the night.
Timothy Richards as Pinkerton was a bit lost amongst the orchestra and couldn't match the power of Kuznetsova's voice. He was somewhat outshone by Goro (Alun Rhys-Jenkins), Sharpless (George von Bergen) and particularly Prince Yamadori (Alexander Robin Baker).
It is a great production - well worth a look! And what a story!
Thursday 24 October 2013
Thursday 10 October 2013
Elektra - The Royal Opera
The last time I saw Elektra at the Royal Opera House it had the wonderful Eva Marton in the title role. I also remember the walls of the set oozing 'blood'. That, however, was a very long time ago.
Whilst this is not a new production to the Opera House <http://roh.org.uk> , it is new to me. I wasn't moved either way by the set or the costumes - vaguely modern with classical overtones.
I had forgotten that this really is an opera about women, whilst there are a few men (the odd servant, Orest, Orest's companion, Ägisth), it is the women who inhabit the stage for the whole performance - in particular Elektra. To sustain the title role you need stamina and a big voice - Christine Goerke has (by the bucket load!). Not only was her singing exceptional, she could also act! Her performance was thrilling and worthy of the tumultuous applause at the curtain.
Let us not ignore Adrianne Pieczonka as Elektra's sister, Chrysothemis. She too gave a magnificent performance. Michaela Schuster as Klytämnestra, their mother, completed this splendid trio of voices.
Ms Goerke must have been drained by the performance - I certainly was!
Whilst this is not a new production to the Opera House <http://roh.org.uk> , it is new to me. I wasn't moved either way by the set or the costumes - vaguely modern with classical overtones.
I had forgotten that this really is an opera about women, whilst there are a few men (the odd servant, Orest, Orest's companion, Ägisth), it is the women who inhabit the stage for the whole performance - in particular Elektra. To sustain the title role you need stamina and a big voice - Christine Goerke has (by the bucket load!). Not only was her singing exceptional, she could also act! Her performance was thrilling and worthy of the tumultuous applause at the curtain.
Let us not ignore Adrianne Pieczonka as Elektra's sister, Chrysothemis. She too gave a magnificent performance. Michaela Schuster as Klytämnestra, their mother, completed this splendid trio of voices.
Ms Goerke must have been drained by the performance - I certainly was!
Wednesday 9 October 2013
Don Quixote - The Royal Ballet
It's been a while since I have "put pen to paper" so to speak, not lack of seeing things, more a lack of inclination! Anyway, last night I went to see the Royal Ballet's new production by Carlos Acosta of Don Quixote <<http://www.roh.org.uk/>>
My biggest gripe is that it is a long evening - three acts and two intervals (Prologue/Act 1 - 51 minutes, Act 2 - 32 minutes, Act 3 - 36 minutes). It is - of course - to allow for big scene changes, but some of the scene changing still overlapped into the action (each time the 'town' appeared).
Really the story is of little consequence, the whole evening is a showcase for the skills of the dancers. You don't worry about what is going on as there is too much to watch and marvel at - the audience last night loved it all! Our two leads were very good. Iana Salenko was a spectacular Kitri, full of poise and grace. Steven McRae's Basilio was full of fire and passion.
All the other principals worked hard and had a good time too.
The packed auditorium lapped it up. Me, I think I could have done with it being somewhat shorter and less of an introduction to the dancers of the Royal Ballet.
My biggest gripe is that it is a long evening - three acts and two intervals (Prologue/Act 1 - 51 minutes, Act 2 - 32 minutes, Act 3 - 36 minutes). It is - of course - to allow for big scene changes, but some of the scene changing still overlapped into the action (each time the 'town' appeared).
Really the story is of little consequence, the whole evening is a showcase for the skills of the dancers. You don't worry about what is going on as there is too much to watch and marvel at - the audience last night loved it all! Our two leads were very good. Iana Salenko was a spectacular Kitri, full of poise and grace. Steven McRae's Basilio was full of fire and passion.
All the other principals worked hard and had a good time too.
The packed auditorium lapped it up. Me, I think I could have done with it being somewhat shorter and less of an introduction to the dancers of the Royal Ballet.
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