A punchy Aida at the Royal Opera

After the last not so successful Aida at the Royal Opera (the night I went, someone in the audience shouted "get on with the bloody singing" during some mannerist movements on stage), there was much anticipation of David McVicar's production of this Verdi masterpiece. The stage design (by Jean-Marc Puissant) had a dark, industrial and gritty look. The 3-d elements were creatively used to give the stage interest without being intrusive.
Micaela Carosi (as Aida) had a powerful voice and delivered some good acting. Amneris (Marianne Cornetti) had the right kind of highly strung and gutsy voice. The decidedly-chubby Marcelo Álvarez sang a decent Radames - though his opening aria Celeste Aida could have been sung with greater sensitive and observance of the morendo marking at the end would not go amiss. There were lots of people on stage, but my guess was that less than half were singers (there were acrobats, lots of dancers, some muscle-bods) - so while the Royal Opera chorus came out strong, the sound lacked that big chorus feel.

Nicola Luisotti (conductor) didn't hang about in the pit: the tempi were very progressive which made this potentially long and stogy opera exciting and punch.

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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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