Rusalka at the Royal Opera

I managed my expectations well. Having seen the Glyndebourne acclaimed production of Rusalka a couple of times, the yardstick was set very high. Then again, it's one of my favourite conductors Yannick Néget-Séguin in the pit.

Let's start with the production. What happened to the nymphs, water goblins, and the forest? Oh no, it's all transported to a Nordic looking sitting room. Lots of wood (forest?) and lots of scantily clad costumes (nymphs?). I had to stretch my imagination quite a bit.Though it was so offensive - nobody booed at the performance (2nd of the run).

As for the music, Néget-Séguin was in his elements with Dvořák's rich orchestration and a strong cast. Camilla Nylund sang the title role very well (including that famous aria in Act One). Bryan Hymel was slightly wooden in his acting but nonetheless made a passable Prince. Ježibaba, sung by Agnes Zwierko, was fabulously matronly. The music flowed and held back at all the right places. The orchestra responded very well - even after the mishap of a stiletto flying into the pit hitting a first violin. Would love to hear the performance again.

Comments

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.

Diary of a Culture Hedonist

Search This Blog