The orchestra was too loud in Der Rosenkavalier at the Royal Opera

This has to be one of my favourite operas, and definitely the favourite Strauss opera. So I was much looking forward to seeing the first night of the revival yesterday. The overture was sounding symphonic which got me worried as it was supposed to be a relatively tender opening to the first act. The in-bed duet between Octavian (Sophie Koch) and Marschallin (Soile Isokoski) was drowned out by the orchestra. The only exception was when the score only called for a handful of instruments accompanying the voices. Baron Ochs was sung by Peter Rose who had a good mid register but lacking umph in the bottom notes. The second act got off to a good start - the duet between Sophie (Lucy Crowe) and Octavian was very good and totally believable. All the singers looked and acted splendidly on the set by William Dudley.

The prelude to the third was bombastic. The farce in the first half
was nicely played out and fun to watch. The trio had a tender start -
Isokoski's pianissimo was outstanding, joined by the beautiful voices
of Koch and Crowe. Though slowly but surely, the singers were drowned
by the orchestra towards the end.

I peeped into the pit to find out what's going on - the conductor
Kirill Petrenko was giving very big leads to the orchestra with huge
gestures all the time: of course the orchestra would respond in kind. Clearly there was
insufficient attempt to balance the sound between stage and pit. One
advice for him: sit in the back of Stalls and have a listen - if you
can't hear the singers, the orchestra is too loud.

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Hearing the Berlin Philharmonic at the Philharmonie

Those of us London-centric folks easily forget there are great concert halls in other parts of the world. I remember as a young kid buying DG LPs with von Karajan on the front cover conducting the Berlin Philharmonic. So as my first visit to the city, a visit to the Philharmonie to listen to the Berlin Philharmonic Orchestra was a must. Ivan Fisher started the evening's concert with Haydn Symphony 88. A light and delightful work. As I'd expected, the acoustic of the hall was amazing - probably a good 2.5 second of reverberation - and much more generous than the Royal Festival Hall in London. The strings sounded sweet and the timpani came through clearly with definition. The audience was then treated to Béla Bartók's Seven Pieces for Choir and Chamber Orchestra: the Berlin Phil reduced in size occupying only half of the stage while the Netherlands Youth Choir took the other half. These young performers (all female) sang in Hungarian from memory - not easy at all - and rea...

Will the swish looking Princi become the hottest thing on Wardour St?

This site on Wardour Street in Soho had seen many bars and restaurants come and go. The latest occupant is Princi, an up market Italian bakery brought to London by Alan Yau (of Hakkasan, Yauatcha fame). Natural stones, polished brass and water reflections dominate. The long communal tables ( de rigeur for any Soho eatery), leather upholstered chairs and perfect lighting make this a stylish choice for a slice of cake (made from organic "00" flour) and a caffé machiato from the Italian barista (yes he is, I talked to him in Italian). They seem to have an alcohol licence - so perfect for an early evening spritz , or a late evening caffé correto . The downside is that this is a self-service joint. While everything is stylishly done, all eating implements are disposable. So never mind the side plate.

Faust at the Royal Opera

This is a revival of Charles Edwards (design) / David McVicar (director) production of Gounod Faust. Visually, it is still exciting to watch with the ever changing stage sets of this fantasy. In this production, Erwin Schrott was Méphistophélès - who had style and poise as this devilish character. Michael Fabiano did a good job at portraying Faust - especially in the first act when he had to start off as an old man before turning into an energetic youngster. Irina Lungu had the right French voice type for Marguerite - somewhat vulnerable with sufficient warmth for the romantic scenes. Dan Ettinger in the pit kept the pace going, and the chorus did magnificently in those big numbers.

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