Skip to main content

Der fliegende Holländer at the Royal Opera

I have managed to avoid all the reviews as I didn't want them to taint my experience of the new production of Der fliegende Holländer at the Royal Opera. The long overture was accompanied by a seascape - essentially water running down a curtain across the stage forming the sea. The set was clever without cluttering the stage. A moving shadow represented the ghost ship - which had to be one of the most economical and convincing effects I have ever seen on the Royal Opera stage.



Bryn Terfel was magnificent as the Flying Dutchman singing with lyricism and drama. Senta, sung by Anja Kampe, had a Wagnerian voice with her top note ringing through the auditorium. Even the supporting cast of Hans-Peter König (Daland), Torsten Kerl (Erik) and John Tessier (Steersman) was strong. The chorus was fantastic - with enough singers carrying the drama. Marc Albrecht at the helm in the pit got the orchestra to play dynamically without losing the details. I am hoping this Dutchman will return to the shore of the Royal Opera soon.


Comments

Popular posts from this blog

The Westin, Shanghai (上海)

It's only 5 minute's from The Bund (外灘) and a relatively new hotel, The Westin Shanghai ought to be a fantastic place for both business and pleasure. Quite a few tourist guides have also rated this highly. It took me about two days to work out why I never warmed to it. The reason? The sense of proportion is erratic across the entire hotel - some corridors are too narrow, beds too close to the wall (even though I was in a mini-suite), some staircases have irregular steps, etc. The list goes on. What was enjoyable? The location. One could  stroll down to The Bund for dinner, drinks or the view. The staff are nice too - always trying to help. What was not enjoyable? Where shall we begin - the fake palm trees, the tightly spaced cafe, the finishing touches, etc.

Król Roger, Royal Opera

The Polish barihunk Mariusz Kwiecień sang the title role on the first performance of Król Roger at the Royal Opera. Kwiecień's portrayal of Król Roger was subtle and involved (might have helped with him having a head cold as Kasper Holten came and told us after the interval). Pappano did full justice to Szymanowski's lush score.

Macbeth, Glyndebourne

Not having read any reviews, I had no idea what to expect at this new production of Macbeth at Glyndebourne Festival Opera. Was I shocked, disappointed, annoyed? Words fail me here. The music was fine - Jurowski commanded the LPO with usual eloquence and fire. The soloists and chorus were on good form too (though the latter had had one or two wayward moments). The problem appeared, alas, when you opened your eyes. As the witches came out of the caravans (trailer-park analogy) it was comical. But when the whole stage design was around some undecipherable social-psychological coding, it became enormously hard to form any understanding between the visual and the audio - the stage was the distraction. Glyndebourne played a crucial role in bring early Verdi operas back to the UK - it was ever more disappointing to see a production of such poor quality.