Götterdämmerung, The Royal Opera

This was the last opera of Wagner's Ring Cycle of the current production by Keith Warner at the Royal Opera at Covent Garden. It was a pretty full house last night and the slightly earlier start of 3 PM made the whole day manageable (imagine having to dash from the office to the opera for a 4:30 start and finishing at 11:00!)

What was enjoyable? Pappano's pacing of the music - the opening prologue of the Norns was unusually slow and the pace duly picked up by the time we reached the climax of the Siegfried and Brünnhilde's duet in Act 1; Siegfried's Rhine Journey (with a slightly futuristic and digital projection that worked); John Tomlinson's Hagen (even with his wayward intonation at those particularly evil moments); Mihoko Fujimura's Waltraute had real meat in her voice.

What was not enjoyable? The beginning of the immolation scene - why was Brünnhilde stuck right at the back of the stage when her voice was dampened by the distance and the orchestra in front? Can we have a better Siegfried next time? John Treleaven's voice was OK but he did not have enough heroism in the timbre. Do we really need naked Rhine maidens at the end (even though I think they were wearing merkins)?

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Strauss Four Last Songs and Sibelius 5 - Singapore Symphony

The evening concert started with the overture of Lohengrin. Jukka-Pekka Saraste took a poised temple and the strings of Singapore Symphony rose to the ocassion to provide that mythical sound. This probbaly was intedned to set the mood for the Four Last Songs - I guessed. Evelina Dobračeva was the star soprano. Frühling got off to a sure, if a little safe start. The best was probably Beim Schlafengehen, sung with great stillness. September and Im Abendrot felt unblanaced - Dobračeva's subtle words were somehow lost among the swell of orchestral sound. This was followed by Morgen - probbaly the best song of the evening, perhaps the very light orchestration helped. Jukka-Pekka Saraste and SSO were on surer footing with Sibelius 5. The first movement was brisk with lightness and details. The second and last movements felt cohesive, leading to the well known tune in the finale. If only there were more people in the concert hall to enjoy the music.

Dialogues des Carmélites at the Royal Opera

Michael Levine's set design for Dialogues des Carmélites was minimalist. Actually, was there any set design? I suppose the director Robert Carsen was clever at introducing formation of human figures in many different ways to suggest the context of the opera. It kind of worked. Blanche, sung by Sally Matthews, was pretty good. Though I did find the whole work quite tedious - I think the intimate nature of the dialogues needed a small and intimate performing space i.e. not the Royal Opera House. The ending was worth waiting for. Dramatic. Poignant.

Aqua Nueva serving up some hot Spanish snacks in London

It's just about a month old when Aqua opened in London. And yes, it's the same Aqua as the one on No 1 Peking Road. Well, the entrance on Argyll Street makes a bit of a statement - crimson velvet decor with a sleekly dressed receptionist guiding you to the lift. When you get to the top floor, it opens out into a series of bar and dining areas. My destination was Aqua Nueva - the Spanish part of this drinking-dining complex. That meant I was guided along an atmospherically lit corridor before I got to the the restaurant. It's well lit with a terrace looking out to a roof top terrace. Unlike Aqua in Hong Kong where it has the spectacular harbour view, the London one only looks out to a roof-top view. Rather than wading through the tapas and a la carte menus, I just asked the maitre d' to bring a selection of their tapas. I was pleasant surprised by the delicate croquette of mushrooms, lightly cooked octopus, braised pork, San Pietro fillets, Manchengo topped tortilla a...

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