Skip to main content

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.


Comments

Popular posts from this blog

Written On Skin at the Royal Opera

This was the first revival of George Benjamin's Written On Skin. As with contemporary operas, familiarity goes a long way in appreciating the work. In this revival, I found Christopher Purves's The Protector powerful and moving. Barbara Hannigan, who sang Agnès, was superb. The pure and slightly eerie tone of Iestyn Davies as The Boy completed the perfect cast.

Götterdämmerung at The Met

Carl Fillion's set design for The Ring at The Met caused a real stir at the premier. Though not having the luxury of seeing the whole Ring, I managed to get a ticket to see Götterdämmerung. Fabio Luisi at the helm of the large Met orchestra kept everything going. There was enough breathing space for the drama to unfold, and there were muscular moments that needed to punctuate the drama. Probably not as poised as Bernard Haitink at Covent Garden many years ago, or as gutsy as Antonio Pappano this season in the same house. But nonetheless very good. Deborah Voigt was a fine Brünhilde - as the role demands from beginning to end. Lars Cleveman was quite a believable Siegfried - youngish looking, jumps about, looking slightly naive on stage. Hans-Peter Köonig was OK - none of his phrases sent shiver down my spine as there was not enough evil. Back to the set. The rotating 'fingers' really worked (you can see them in this pic - sitting above the performers), especially...

Hänsel und Gretel at the Royal Opera

Having  seen Hänsel und Gretel only a few months ago at Glyndebourne , I was looking forward to see how the Royal Opera will bring this fairytale opera to life. Christian Fenouillat  pastoral set worked well. Like many operas with a small cast, he added a bounding box to reduce the size of the stage without losing perspective. Angelika Kirchschlager and Diana Damrau were believable Hänsel and Gretel respectively. Their stage acting (how they walked, jumped and cuddled) conveyed a real sense of innonance. Thomas Allen (their father) was on good form. The Dew Fairy (by Anita Watson) was fabulous with an orange duster and a yellow squirty spray cleaner. All in all, the creative team managed to strike a good balance between serious opera and fairytale. Colin Davis also did real justice to Humperdinck's lush Wagnerian score. It would be nice for this lovely work to remain in repertory around this time of the year to counter-balance the sickly sweek Nutcracker.