Skip to main content

Lucia di Lammermoor at Royal Opera

The version of Il dolce suono that sticks to my mind was sung by Plavalaguna in The Fifth Element.

I thought Diana Damrau was an amazing Lucia - her acting was fantastic and her voice was wonderful. Charles Castronovo's Edgardo was also pretty good. Their interplay Act One was top notch. Kwangchul Youn was outstanding as Raimondo with a true basso profundo voice. Diana Damrau sang Il dolce suono beautifully in the final act. Top marks musically.



As for the "split screen" stage design. Katie Mitchell's direction worked in the first two acts. The 'background' activities added visual interest and the tight stage gave that claustrophobic / intimate feel to the production. The last act didn't work: the 'killing' and 'miscarriage' scenes were really distracting to the singing that was taking place on the other side of the stage: one required intense concentration to hear the music. Was it necessary to 'fill in the gaps' (of the killing of Arturo)? I didn't think so - as those scenes deprived the audience of their own visual and emotional imaginations.

If this production were to be revised, a little nip and tuck to the direction could make a huge improvement for the audience. Let's see. 

Comments

Popular posts from this blog

Gothenburg Symphony Orchestra, Royal Festival Hall

It was billed as a "Warm Up Event". But I think it was to do with contracts signed prior to the discovery of asbestos at the Royal Festival Hall which added six months to the renovation programme. Gustavo Dudamel conducted the Gothenburg Symphony Orchestra in Strauss Four Last Songs and Mahler 5th. The band made a good sound tough the upper strings were a bit subdue (or was it the Hall?) The Four Last Songs were a bit fast to my liking - and it was only Beim Schlafengehen where I felt the tempo was right. Measha Brueggergosman sang relatively well, though her BIG HAIR was in the way of the sound projection. Mahler 5th was thunderous and supple at the same time - the latter much helped by the strong viola and lower string section. It was exciting and forward but could do with a bit more rubati. Otherwise it was an enjoyable evening out at this much loved venue.

La Voix Humaine, Glyndebourne

Stéphanie d’Oustrac starred in this one act / single cast Poulenc opera. The minimalist stage (Caroline Ginet) consisted of a tilting platform with an old fashioned dial telephone. But that's all it took for the drama to unfold. d’Oustrac was able to draw us into her conversation, expressing the challenging feelings of frustration, anxiety, disappointment and dare we say hope? A superb performance it was.

Bruckner 8, Andris Nelsons and the Leipzig Gewandhaus Orchestra

Bruckner 8 Symphony was a gigantic piece of symphonic writing. What better to hear a mature and thoughtful Andris Nelsons conducting the Leipzig Gewandhaus Orchestra? The slow measured start gave rise to the hallmark relentlessness of the later Bruckner symphonies. Nelsons brought out the rising and falling phrases, and ensured the episodic chunks together form a coherent whole. The scherzo second movement was precise and at pace. Feierlich langsam (3rd movement) was subtle, mournful with a glimmer of light. The masculine sound for the brass section delivered a memorable finale