It has taken a while but I have finally got to see the National Theatre's production of The Curious Incident of the Dog in the Night-Time (currently in its third home at the Gielgud Theatre, following a ceiling collapsing earlier in the year). <<http://www.curiousonstage.com>>
At the play's heart is Christopher Boone (currently played by Graham Butler), a 15 year old who is incredible at maths but has difficulty relating to people, to the world around him - apart from his pet rat, Toby. Is it autism? Is it Asperger's? It's never really made specific, but Graham Butler's performance, full of anxiety and bluntness is excellent.
The most of the supporting cast interchange roles and all provide depth to the play.
The other main star of the show is the staging- the set, the sound, the light, the movement all help us get an insight into the peculiarities of Christopher's mind. I can't say too much about what happens - Act 1 revolved around the death of a neighbour's dog. Act 2 follows on from that..... It all gets very emotionally draining by the end, but in a good way. And there is a lovely 'aww' moment.
Wednesday 8 October 2014
Wednesday 13 August 2014
It is a while since I have seen The Crucible, I think it was a film version some years ago. I remember studying it at school - but that was even longer ago, still, I was keen to see this new production at The Old Vic. <<http://www.oldvictheatre.com/whats-on/2014/the-crucible/>>
As ever, before I went I had a quick look at the reviews and, for a change, they did not put me off. However, a string of good reviews does give one high hopes. Luckily I was not let down (although I was a bit distraught when I read that the running time was three and a half hours - but, Yaël Farber's direction keeps the pace up and you don't notice the hours passing).
Although Richard Armitage's John Proctor is the "bums on seats" factor, the whole cast is great. Armitage is a brooding presence of a man, brought down by the machinations of a spurned lover. Anna Madeley is moving as his wife, whose coldness has forced him into the arms of Abigail. The girls, whether possessed or not, are terrifying! And all the accusers and accused produce strong performances. Staged in the round, you feel drawn into the action as the cast move on and off stage through the audience.
Thrilling stuff!
As ever, before I went I had a quick look at the reviews and, for a change, they did not put me off. However, a string of good reviews does give one high hopes. Luckily I was not let down (although I was a bit distraught when I read that the running time was three and a half hours - but, Yaël Farber's direction keeps the pace up and you don't notice the hours passing).
Although Richard Armitage's John Proctor is the "bums on seats" factor, the whole cast is great. Armitage is a brooding presence of a man, brought down by the machinations of a spurned lover. Anna Madeley is moving as his wife, whose coldness has forced him into the arms of Abigail. The girls, whether possessed or not, are terrifying! And all the accusers and accused produce strong performances. Staged in the round, you feel drawn into the action as the cast move on and off stage through the audience.
Thrilling stuff!
Wednesday 6 August 2014
Maria Stuarda - Royal Opera House
It's nearly three weeks since I saw this production at the Opera House, so it is a quick review as things get hazy so quickly these days.
1. I had never seen the opera before, but had seen and studied the Schiller play.
2. It was another chance to see Joyce DiDonato as Maria. Wonderful as ever. Slight issue with the fact that she was blonde. I always thought Mary Queen of Scots was a redhead (albeit a wig!).
3. Carmen Giannattasio as Queen Elizabeth was fantastic. A great voice, only hampered by a huge frock. She did, disconcertingly, look a bit Helena Bonham Carter in Tim Burton's Alice in Wonderland film!
Great end to the season!
1. I had never seen the opera before, but had seen and studied the Schiller play.
2. It was another chance to see Joyce DiDonato as Maria. Wonderful as ever. Slight issue with the fact that she was blonde. I always thought Mary Queen of Scots was a redhead (albeit a wig!).
3. Carmen Giannattasio as Queen Elizabeth was fantastic. A great voice, only hampered by a huge frock. She did, disconcertingly, look a bit Helena Bonham Carter in Tim Burton's Alice in Wonderland film!
Great end to the season!
Thursday 3 July 2014
Nederlands Dans Theater 1 - Sehnsucht/Schmetterling - Sadlers Wells
It is a long time since I have seen Nederlands Dans Theater 1 at Sadlers Wells. If I remember it was still in the heady days under the leadership of Jirí Kylián. Things have obviously moved on with this double bill from Sol León and Paul Lightfoot currently on at Sadlers Wells. <<http://www.sadlerswells.com/whats-on/2014/Nederlands-Dans-Theater-1-Sehnsucht-Schmetterling/>>.
In Sehnsucht the staging is simple, apart from a rotating room at the back of the stage where a couple of dancers stretch and roll about. (Too much gusset for my taste!) Musically it's a lot of Beethoven. I did not get over-excited by the 'trio' at the start. I found the ensemble choreography more interesting, if not particularly innovative. You can clearly see the classical roots of the company as well as more contemporary touches.
For Schmetterling the staging was more complex - openings focusing towards a backcloth. Dance-wise it was much more fragmented than the first piece. I'm not a great one for whimsy and humour in dance so there were sections that did not ignite me!
I think León and Lightfoot have some issues about gender boundaries.......in Sehnsucht most of the dancers are dressed in black trousers and black socks, with torsos bare. This is for both the men and the women. They then flip the coin in Schmetterling and have most of the men and women in black dresses and headscarves. Very confusing!
In Sehnsucht the staging is simple, apart from a rotating room at the back of the stage where a couple of dancers stretch and roll about. (Too much gusset for my taste!) Musically it's a lot of Beethoven. I did not get over-excited by the 'trio' at the start. I found the ensemble choreography more interesting, if not particularly innovative. You can clearly see the classical roots of the company as well as more contemporary touches.
For Schmetterling the staging was more complex - openings focusing towards a backcloth. Dance-wise it was much more fragmented than the first piece. I'm not a great one for whimsy and humour in dance so there were sections that did not ignite me!
I think León and Lightfoot have some issues about gender boundaries.......in Sehnsucht most of the dancers are dressed in black trousers and black socks, with torsos bare. This is for both the men and the women. They then flip the coin in Schmetterling and have most of the men and women in black dresses and headscarves. Very confusing!
Wednesday 2 July 2014
Ariadne auf Naxos - The Royal Opera House
It's many years since I have seen Ariadne, I think it was a production at ENO in the 1990s so I did not really have much of an idea what to expect.......
The Royal Opera's production directed by Christof Loy is a wonderful event. <<http://www.roh.org.uk>> The staging of the Prologue is marvellous - as the lift goes down the whole stage goes up to allow the action to take place in the basement. I'm not sure I've ever seen such a huge scene shift at the opera house in recent years - very impressive.
Essentially you get two short operas - the very short Prologue and the Opera.
The Prologue had some great action and great singing. Thomas Allen as the Music Master was his usual excellent self. Ruxandra Donose gave an impassioned performance as the Composer. We had hints from some who were to appear in the second part, but they were just hints.
The Opera itself is much more interesting with the mixing of the two opera companies to produce a weird hybrid at the whim of the rich patron. Karita Mattila sang the role of Ariadne wonderfully. Jane Archibald threw herself into the role of Zerbinetta with gusto. Sofia Fomina, Karen Cargill and Kiandra Howarth sounded lovely as the Naiad, Dryad and Echo. Although we had to wait a long time for him to appear, Roberto Saccà provided us with a full voiced Bacchus.
The ensemble singing was also spot on and the orchestra deserved the rousing applause it received at the end.
A very entertaining evening.
The Royal Opera's production directed by Christof Loy is a wonderful event. <<http://www.roh.org.uk>> The staging of the Prologue is marvellous - as the lift goes down the whole stage goes up to allow the action to take place in the basement. I'm not sure I've ever seen such a huge scene shift at the opera house in recent years - very impressive.
Essentially you get two short operas - the very short Prologue and the Opera.
The Prologue had some great action and great singing. Thomas Allen as the Music Master was his usual excellent self. Ruxandra Donose gave an impassioned performance as the Composer. We had hints from some who were to appear in the second part, but they were just hints.
The Opera itself is much more interesting with the mixing of the two opera companies to produce a weird hybrid at the whim of the rich patron. Karita Mattila sang the role of Ariadne wonderfully. Jane Archibald threw herself into the role of Zerbinetta with gusto. Sofia Fomina, Karen Cargill and Kiandra Howarth sounded lovely as the Naiad, Dryad and Echo. Although we had to wait a long time for him to appear, Roberto Saccà provided us with a full voiced Bacchus.
The ensemble singing was also spot on and the orchestra deserved the rousing applause it received at the end.
A very entertaining evening.
Friday 6 June 2014
Benvenuto Cellini - English National Opera
As the overture rolled on and the stage (and the front of the stalls) suddenly filled with carnival goers and assorted revellers I was a bit worried I'd stumbled back into the new ENO production of Cosi (sorry, never got round to reviewing this version with its Coney Island setting!). However, it was merely the start of the Mardi Gras scene of the opening of Benvenuto Cellini by Berlioz.
The auditorium was packed, not - I suspect - by the Berlioz fan club - more to see what director Terry Gilliam would make of the opera. He's worked with ENO before on The Damnation of Faust. This gave him much more meat into which to sink his teeth - love, murder, mistaken identity, the Pope, carnival - the list of opportunities seems endless.
Gilliam threw everything at the production and most of it worked well. Big cast, outrageous costumes, huge masks, huge statue, confetti in the auditorium. And the audience loved it. Huge ovation for the cast, orchestra and, as last night was the first night, the production team - including Gilliam himself.
Being unfamiliar with the piece I was happily drawn along by the images on stage, however, the orchestra was on great form. The cast was strong too. Michael Spyres gave all in the title role as the philandering sculptor. Corinne Winters, Teresa, sang well as his love interest. Nicholas Pallesen as Fieramosca (another sculptor and betrothed to Teresa) and Paula Murrihy as Ascanio (Cellini's business manager) provided formidable support. It is a long time since I have seen Willard White on stage, so it was good to see him as Pope Clement VII. The Pope's arrival was completely over the top with an enormous costume partly inspired by the Mikado! The rest of the cast and chorus, as ever, were enthusiastic. I felt at times that Pavlo Hunka (Giacomo Balducci, the papal exchequer) lacked a bit of power, but had a good tone nonetheless.
And the revelation of the finished statue of Perseus was a great ending.
The auditorium was packed, not - I suspect - by the Berlioz fan club - more to see what director Terry Gilliam would make of the opera. He's worked with ENO before on The Damnation of Faust. This gave him much more meat into which to sink his teeth - love, murder, mistaken identity, the Pope, carnival - the list of opportunities seems endless.
Gilliam threw everything at the production and most of it worked well. Big cast, outrageous costumes, huge masks, huge statue, confetti in the auditorium. And the audience loved it. Huge ovation for the cast, orchestra and, as last night was the first night, the production team - including Gilliam himself.
Being unfamiliar with the piece I was happily drawn along by the images on stage, however, the orchestra was on great form. The cast was strong too. Michael Spyres gave all in the title role as the philandering sculptor. Corinne Winters, Teresa, sang well as his love interest. Nicholas Pallesen as Fieramosca (another sculptor and betrothed to Teresa) and Paula Murrihy as Ascanio (Cellini's business manager) provided formidable support. It is a long time since I have seen Willard White on stage, so it was good to see him as Pope Clement VII. The Pope's arrival was completely over the top with an enormous costume partly inspired by the Mikado! The rest of the cast and chorus, as ever, were enthusiastic. I felt at times that Pavlo Hunka (Giacomo Balducci, the papal exchequer) lacked a bit of power, but had a good tone nonetheless.
And the revelation of the finished statue of Perseus was a great ending.
Tuesday 15 April 2014
Powder her Face - English National Opera
On paper is sounded great. ENO going off site to Ambika P3 to put on Powder Her Face charting "the glamorous rise and seedy fall of the notorious socialite beauty Margaret, Duchess of Argyll". <<http://www.eno.org/powder>>
However there were drawbacks. Drawbacks to such an extent I can only give you a limited view of the performance here - I only made it as far as the interval.
It's not that there is anything particularly wrong with the opera by Thomas Adès, it's the performance space. In a concrete bunker, two floors under the University of Westminster the performance is given an odd resonance with the sound bouncing all over the place. Worse still is the seating. Not having access to a seating plan when booking, I think I ended up with the worst seat in the room. Not only was it high up, but it was in a corner and meant to get any sort of view of what was going on I had to lean forward and twist slightly. As a result, by the end of Act 1, my back was giving me hell! Much as I would have liked to carry on and see second half, my stamina deserted me.
Amanda Roocroft as the Duchess relished the role. She did not hold back at all during the .... ahem ... rude aria! But the acoustics did none of the cast any favours.
I would see it again, but only somewhere with a bit more comfort and better sightlines!
However there were drawbacks. Drawbacks to such an extent I can only give you a limited view of the performance here - I only made it as far as the interval.
It's not that there is anything particularly wrong with the opera by Thomas Adès, it's the performance space. In a concrete bunker, two floors under the University of Westminster the performance is given an odd resonance with the sound bouncing all over the place. Worse still is the seating. Not having access to a seating plan when booking, I think I ended up with the worst seat in the room. Not only was it high up, but it was in a corner and meant to get any sort of view of what was going on I had to lean forward and twist slightly. As a result, by the end of Act 1, my back was giving me hell! Much as I would have liked to carry on and see second half, my stamina deserted me.
Amanda Roocroft as the Duchess relished the role. She did not hold back at all during the .... ahem ... rude aria! But the acoustics did none of the cast any favours.
I would see it again, but only somewhere with a bit more comfort and better sightlines!
Friday 11 April 2014
Lac (after Swan Lake) - Les Ballets de Monte Carlo - ENO
Another week another ballet company at the home of ENO. This week we had Les Ballets de Monte Carlo with Lac (after Swan Lake), choreographed by Jean-Christophe Maillot. <<http://www.eno.org/whats-on/other/lac>>
I had read some reviews of this work from it's travels round the world, but not from its opening night in London. These were pretty harsh. I've now had a look at a couple from the opening at The London Coliseum and they are much kinder. Like me they think there's not much you can (or should) do to Swan Lake - it's all there anyway. Matthew Bourne, of course, is the noble exception - he got away with re-imagining Swan Lake and how! I think these days there is a tendency to look the the film Black Swan as if that can help you in some way. It can't!
Anyway, back to last night! I wasn't holding out much hope. In the end I enjoyed more than I had intended to.....I didn't have a clue what was going on, but in some ways that didn't matter. The dancers were having a ball and some of the dancing was of a very high calibre.
My highest praise of the evening goes to April Ball as Her Majesty of the Night - Rothbart fused with Cruella de Ville. She had the biggest role. She had the slinkiest moves. She had the most outrageous costumes.
The sets and lighting were very good indeed. Musically - I could have done with a real orchestra.
I had read some reviews of this work from it's travels round the world, but not from its opening night in London. These were pretty harsh. I've now had a look at a couple from the opening at The London Coliseum and they are much kinder. Like me they think there's not much you can (or should) do to Swan Lake - it's all there anyway. Matthew Bourne, of course, is the noble exception - he got away with re-imagining Swan Lake and how! I think these days there is a tendency to look the the film Black Swan as if that can help you in some way. It can't!
Anyway, back to last night! I wasn't holding out much hope. In the end I enjoyed more than I had intended to.....I didn't have a clue what was going on, but in some ways that didn't matter. The dancers were having a ball and some of the dancing was of a very high calibre.
My highest praise of the evening goes to April Ball as Her Majesty of the Night - Rothbart fused with Cruella de Ville. She had the biggest role. She had the slinkiest moves. She had the most outrageous costumes.
The sets and lighting were very good indeed. Musically - I could have done with a real orchestra.
Les Ballets C de la B - Alain Platel's tauerbach
I'm a bit behind in my mini reviews so you will all have missed this real 'treat' at Sadlers Wells <<http://www.sadlerswells.com>>
Really I should have known better when I remembered Alain Platel's previous work at Sadlers Wells "Out of Context" had the additional comment "for Pina". I wasn't overwhelmed with that, thinking it a very shallow version of what Pina Bausch had created for decades. So.....you can imagine how my heart sank when I saw the stage in front of the curtain littered with clothes and then on curtain up - a stage piled high with clothes.
According to the Sadlers Wells flyer...."tauerbach tells the story of a woman who suffers from schizophrenia and who lives and works in a Brazillian waste disposal site. Living in these unusual conditions, she has developed her own very particular way of communicating with this small community she lives in."
We had lots of Pina-isms - obviously the cluttered stage, dancers dressing and undressing, throwing things around, singing, shouting, dialogue, monologue. And in there we had some flashes of dance. Occasional flashes of interest, but these weren't sustained.
I am afraid Les Ballets C de la B is off my list!
Really I should have known better when I remembered Alain Platel's previous work at Sadlers Wells "Out of Context" had the additional comment "for Pina". I wasn't overwhelmed with that, thinking it a very shallow version of what Pina Bausch had created for decades. So.....you can imagine how my heart sank when I saw the stage in front of the curtain littered with clothes and then on curtain up - a stage piled high with clothes.
According to the Sadlers Wells flyer...."tauerbach tells the story of a woman who suffers from schizophrenia and who lives and works in a Brazillian waste disposal site. Living in these unusual conditions, she has developed her own very particular way of communicating with this small community she lives in."
We had lots of Pina-isms - obviously the cluttered stage, dancers dressing and undressing, throwing things around, singing, shouting, dialogue, monologue. And in there we had some flashes of dance. Occasional flashes of interest, but these weren't sustained.
I am afraid Les Ballets C de la B is off my list!
Friday 28 March 2014
Blithe Spirit - Gielgud Theatre
It really went without saying that I'd have to go and see Blithe Spirit with Angela Lansbury when it hit the West End. Firstly, I have always loved the film version (Margaret Rutherford was one of my favourite actresses when watching old British films on a Saturday afternoon when I was at school. Secondly, Angela Lansbury, need I say more?
Naturally the Gielgud Theatre was packed. After all, they all know who she is, even if they are not sure what the play is about. <<http://www.delfontmackintosh.co.uk/Tickets/BlitheSpirit/BlitheSpirit.asp>>
It's a small cast and it has to be a strong cast. The weakest link, I think, is Jemima Rooper as Elvira, the first dead wife. She isn't brittle enough, she's a bit too 2014. One of her best moments however is her grappling with the recently deceased, and invisible, Ruth. Janie Dee, Ruth, and Charles Edwards, Charles, seem to fit the period style quite nicely. Snapping at each other as the tensions rise with the arrival of Elvira.
Of course the night belonged to Angela Lansbury as Madame Arcati. Whilst still as batty as Margaret Rutherford, she carefully avoids channeling any of Rutherford's ticks and foibles. For a woman of 88 Lansbury is agile and active, bounding around the stage to induce the spirits to join the seance. Her timing is great and her withering looks could have curdled milk at 100 yards!
The place erupted at the curtain call, the whole audience standing. It wasn't just for the performance, it was for Angela Lansbury!
Naturally the Gielgud Theatre was packed. After all, they all know who she is, even if they are not sure what the play is about. <<http://www.delfontmackintosh.co.uk/Tickets/BlitheSpirit/BlitheSpirit.asp>>
It's a small cast and it has to be a strong cast. The weakest link, I think, is Jemima Rooper as Elvira, the first dead wife. She isn't brittle enough, she's a bit too 2014. One of her best moments however is her grappling with the recently deceased, and invisible, Ruth. Janie Dee, Ruth, and Charles Edwards, Charles, seem to fit the period style quite nicely. Snapping at each other as the tensions rise with the arrival of Elvira.
Of course the night belonged to Angela Lansbury as Madame Arcati. Whilst still as batty as Margaret Rutherford, she carefully avoids channeling any of Rutherford's ticks and foibles. For a woman of 88 Lansbury is agile and active, bounding around the stage to induce the spirits to join the seance. Her timing is great and her withering looks could have curdled milk at 100 yards!
The place erupted at the curtain call, the whole audience standing. It wasn't just for the performance, it was for Angela Lansbury!
Die Frau ohne Schatten - Royal Opera House
Well, the first thing you notice about the Royal Opera's production of Die Frau ohne Schatten (a co-production with la Scala, Milan) is that it is long, very long! Not, Wagner - but not far off! <<http://www.roh.org.uk/productions/die-frau-ohne-schatten-by-claus-guth>>
It's all a bit confusing - missing shadows, unborn children, spirit messengers - and that's just for starters. At the end of the day it's best to just go with the flow and watch in confusion and listen to some marvellous singing. The whole cast was very strong and the orchestra at full throttle.
I enjoyed it as an experience, but I won't go to any revivals!
It's all a bit confusing - missing shadows, unborn children, spirit messengers - and that's just for starters. At the end of the day it's best to just go with the flow and watch in confusion and listen to some marvellous singing. The whole cast was very strong and the orchestra at full throttle.
I enjoyed it as an experience, but I won't go to any revivals!
Birmingham Royal Ballet - Prince of the Pagodas - London Coliseum
Gave in and went to see BRB's Prince of the Pagodas at the Coliseum. <<http://www.eno.org/whats-on/other/the-prince-of-the-pagodas>>
I was there when the Royal Ballet first did it many, many years ago and launched the career of Darcey Bussell. I am pretty sure I have been to at least one revival. I have no recollection of the plot, although for some reason a map springs to mind, so the convoluted plotline for this production seemed completely new.
The designs by Rae Smith are colourful and fun, although there seems to be a blurring of which Asian country we are in. Never mind, it looks good.
David Bintley's choreography is fine, it isn't earth-shatteringly new and it serves the music well. Although the Salamander Prince and Princess Belle Sakura (William Bracewell and Jenna Roberts) were beautifully danced, my vote of the evening goes to Samara Downs dancing the Empress Épine. She got the most to do, the most interesting steps and seemed like she was enjoying it.
The Royal Ballet Sinfonia did a sterling job with Britten's music and got a well-deserved cheer at the end of the night.
I was there when the Royal Ballet first did it many, many years ago and launched the career of Darcey Bussell. I am pretty sure I have been to at least one revival. I have no recollection of the plot, although for some reason a map springs to mind, so the convoluted plotline for this production seemed completely new.
The designs by Rae Smith are colourful and fun, although there seems to be a blurring of which Asian country we are in. Never mind, it looks good.
David Bintley's choreography is fine, it isn't earth-shatteringly new and it serves the music well. Although the Salamander Prince and Princess Belle Sakura (William Bracewell and Jenna Roberts) were beautifully danced, my vote of the evening goes to Samara Downs dancing the Empress Épine. She got the most to do, the most interesting steps and seemed like she was enjoying it.
The Royal Ballet Sinfonia did a sterling job with Britten's music and got a well-deserved cheer at the end of the night.
Thursday 13 March 2014
ENO - Rodelinda review
Another week, another opera at ENO, but this time it was a more enjoyable 'whole' affair than last week's Rigoletto!
Richard Jones' new production of Handel's Rodelinda was a much better production all round, although there were still elements that jarred or were unintentionally comic. Some other unplanned (I hope!) humour came from the new translaton by Amanda Holden. It is sometimes hard to stop yourself laughing when someone sings that they are bleeding after being stabbed several times!
Updated to the 1940s the plot was still easy enough to follow (for Handel!), after all, there are only seven characters and one of them - Flavio (the son Rodelinda and Bertarido) - doesn't even sing!
The orchestra - under Christian Curnyn - was in great form, but it was the cast that topped the evening. Richard Burkhard as Garibalda was suitably evil and conniving. Eduige, sung by Susan Bickley, was a torment of conflicted emotions. Countertenor Christopher Ainslie had a difficult task being one of two countertenors in the opera, however, he sang and acted well. John Mark Ainsley as Grimoaldo was well cast as the evil usurper. Iestyn Davies as the usurped Bertarido sang beautifully (as we would expect) and his duet at the separation with Rodelinda - Rebecca Evans - was one of the highlights of the evening. Evans was in fine voice throughout and got a huge round of applause at curtain down.
Although there was a great deal of scenery and 'business' on stage, it didn't, for a change, interfere with the singing. This time ENO wasn't scared of letting a small cast get on with it!
<<http://www.eno.org/rodelinda>>
Richard Jones' new production of Handel's Rodelinda was a much better production all round, although there were still elements that jarred or were unintentionally comic. Some other unplanned (I hope!) humour came from the new translaton by Amanda Holden. It is sometimes hard to stop yourself laughing when someone sings that they are bleeding after being stabbed several times!
Updated to the 1940s the plot was still easy enough to follow (for Handel!), after all, there are only seven characters and one of them - Flavio (the son Rodelinda and Bertarido) - doesn't even sing!
The orchestra - under Christian Curnyn - was in great form, but it was the cast that topped the evening. Richard Burkhard as Garibalda was suitably evil and conniving. Eduige, sung by Susan Bickley, was a torment of conflicted emotions. Countertenor Christopher Ainslie had a difficult task being one of two countertenors in the opera, however, he sang and acted well. John Mark Ainsley as Grimoaldo was well cast as the evil usurper. Iestyn Davies as the usurped Bertarido sang beautifully (as we would expect) and his duet at the separation with Rodelinda - Rebecca Evans - was one of the highlights of the evening. Evans was in fine voice throughout and got a huge round of applause at curtain down.
Although there was a great deal of scenery and 'business' on stage, it didn't, for a change, interfere with the singing. This time ENO wasn't scared of letting a small cast get on with it!
<<http://www.eno.org/rodelinda>>
Monday 10 March 2014
Rigoletto - English National Opera
This is ENO's "new" Rigoletto as they have superseded the Jonathan Miller production set in the 1950s. The Miller version was fun and it worked, I am not so sure about the new one. <<http://www.eno.org/rigoletto>>
"New" is a relative term here. It's new to ENO, but this Rigoletto has been seen in Toronto in 2011 and at the Lyric Opera, Chicago in 2000. It is set in a Victorian gentlemen's club and all the action takes place in the one room. I am not a stickler for different settings for different scenes, but this unity of place made the story garbled in parts and I am really not sure why Rigoletto spends part of one scene in a chair at the front of the stage under a scarf. Is he not there? Is he part of the action but removed from it? Is it just to remind us who he is?
It worries me when in a serious opera some of the nuances of the production elicit sniggers from the audience. Should they know better or is it a failing of the mise en scène?
However, it was a good night musically. The cast was strong and the chorus of courtiers rousing. Barry Banks as the Duke sang well and carried of the 'big hit' (La donna è mobile) very well. Anna Christy as Gilda, Rigoletto's daughter, had a good voice and acted well. A couple of times I found her upper notes a bit shrill, but that could just be my ears! Quinn Kelsey as Rigoletto was excellent. His torment at the end, when he finds Gilda dead, was moving (although he did fling her around like a rag doll for a while!).
Despite the sniggering, the audience loved it. The applause at the final curtain loud and sustained.
One small gripe, yet again the running time in the programme and the actual time the curtain fell differed substantially. If my memory serves me well, this time there was an over-run of 10-15 minutes.
"New" is a relative term here. It's new to ENO, but this Rigoletto has been seen in Toronto in 2011 and at the Lyric Opera, Chicago in 2000. It is set in a Victorian gentlemen's club and all the action takes place in the one room. I am not a stickler for different settings for different scenes, but this unity of place made the story garbled in parts and I am really not sure why Rigoletto spends part of one scene in a chair at the front of the stage under a scarf. Is he not there? Is he part of the action but removed from it? Is it just to remind us who he is?
It worries me when in a serious opera some of the nuances of the production elicit sniggers from the audience. Should they know better or is it a failing of the mise en scène?
However, it was a good night musically. The cast was strong and the chorus of courtiers rousing. Barry Banks as the Duke sang well and carried of the 'big hit' (La donna è mobile) very well. Anna Christy as Gilda, Rigoletto's daughter, had a good voice and acted well. A couple of times I found her upper notes a bit shrill, but that could just be my ears! Quinn Kelsey as Rigoletto was excellent. His torment at the end, when he finds Gilda dead, was moving (although he did fling her around like a rag doll for a while!).
Despite the sniggering, the audience loved it. The applause at the final curtain loud and sustained.
One small gripe, yet again the running time in the programme and the actual time the curtain fell differed substantially. If my memory serves me well, this time there was an over-run of 10-15 minutes.
Friday 7 February 2014
Peter Grimes at English National Opera
Having seen this production when it first opened in 2009, I went to see it again last night as I had a ticket to reschedule something else. <<http://www.eno.org/grimes>>
It was with sinking feeling that the assembling audience received cast change notes. Not only was Peter Grimes indisposed, so was Ellen Orford, what a bad start to the night!
So we had replacements: Peter Grimes was sung by his understudy, Michael Colvin, who normally sings Bob Boles in this cast. Ellen Orford's understudy was also unable to sing so Judith Howarth stepped in - she had sung the role in this production in Berlin last year. As there was no longer anyone to play Bob Boles, he was sung by Robert Murray who sang the role in Aldeburgh last year. (I think that's the correct history to these replacements, it could be that it was the other way round - if it is - sorry!)
Anyway, replacements aside, it was a cracking evening. Ellen was really good and very moving. Grimes himself, although not having the biggest voice in the cast, certainly had one of the most melodic. It was a soaring, moving voice.
A special bravo to the lighting designer, Adam Silverman. The lighting was terrific throughout. The shadows and light effects were stunning. Some of the shadow work against the sea and sky were very reminiscent of Magritte's work.
It was with sinking feeling that the assembling audience received cast change notes. Not only was Peter Grimes indisposed, so was Ellen Orford, what a bad start to the night!
So we had replacements: Peter Grimes was sung by his understudy, Michael Colvin, who normally sings Bob Boles in this cast. Ellen Orford's understudy was also unable to sing so Judith Howarth stepped in - she had sung the role in this production in Berlin last year. As there was no longer anyone to play Bob Boles, he was sung by Robert Murray who sang the role in Aldeburgh last year. (I think that's the correct history to these replacements, it could be that it was the other way round - if it is - sorry!)
Anyway, replacements aside, it was a cracking evening. Ellen was really good and very moving. Grimes himself, although not having the biggest voice in the cast, certainly had one of the most melodic. It was a soaring, moving voice.
A special bravo to the lighting designer, Adam Silverman. The lighting was terrific throughout. The shadows and light effects were stunning. Some of the shadow work against the sea and sky were very reminiscent of Magritte's work.
Tuesday 28 January 2014
RSC - Richard II with David Tennant
A very late review of the RSC's production of Richard II at the Barbican with David Tennant in the title role. It's a while since I have seen the RSC (the last thing was a terrible Anthony and Cleopatra) so I was hoping for better things!
Tennant is an interesting choice for the RSC <<http://www.rsc.org.uk>> to make - would it be too cynical of me to suggest it has something to do with bums on seats? Part of me feels that the sold-out auditorium had more than its fair share of Doctor Who fans....nevertheless, it would be churlish to stop people seeing live theatre, whatever their reasons!
I find Tennant eminently watchable on TV, I have yet to watch his Hamlet on DVD (but friends have told me it is well worth watching!) so I was keen to see him tread the boards.......I enjoyed his performance, but felt in parts it dropped in intensity and character. Perhaps it was Gregory Doran's direction, perhaps it was how the play was being treated. When he was good, he was very good. And it must be said, the costuming suited him a treat!
Despite all the reviews I read before I went, I wasn't unduly distracted by his hair!
The rest of the cast performed strongly, as you would expect from an RSC ensemble. The staging was great - simple and very effective. And great lighting too.
Tennant is an interesting choice for the RSC <<http://www.rsc.org.uk>> to make - would it be too cynical of me to suggest it has something to do with bums on seats? Part of me feels that the sold-out auditorium had more than its fair share of Doctor Who fans....nevertheless, it would be churlish to stop people seeing live theatre, whatever their reasons!
I find Tennant eminently watchable on TV, I have yet to watch his Hamlet on DVD (but friends have told me it is well worth watching!) so I was keen to see him tread the boards.......I enjoyed his performance, but felt in parts it dropped in intensity and character. Perhaps it was Gregory Doran's direction, perhaps it was how the play was being treated. When he was good, he was very good. And it must be said, the costuming suited him a treat!
Despite all the reviews I read before I went, I wasn't unduly distracted by his hair!
The rest of the cast performed strongly, as you would expect from an RSC ensemble. The staging was great - simple and very effective. And great lighting too.
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