Skip to main content

L’africaine at La Fenice



Meyerbeer's L’africaine is rarely staged. So it was a "must see" at La Fenice when I was in Venice. Well, the cast was pretty good: Zuzana Marková was Inés who had presence despite the somewhat minor role. Luca Grassi was a heroic Nélusko - and had the right look too. Vasco was sung by Antonello Palombi who could fill the auditorium with a booming tenorial voice, though it lacked finesse and tenderness: his version of O paradis was ok. Patrizia Biccirè was Sélika who was superb - especially in the last act.

The staging and lighting was poor. Clearly the house didn't have money, but to have a few chairs in act 1, some box-standard prison gates in act 2, a bit of a ship in act 3, NOTHING for act 4 and just a plank and a tree for act 5 simply did not do the genre justice. Oh and there was no ballet. Everything was poorly lit - they even for got to light the lead soloist at the final curtain call!

I thought it was an engaging opera. The music followed (a mature Meyerbeer work) and you could hear where Wagner and Verdi got their ideas from. And I think it deserves a better grand opera treatment if it were to be staged at Covent Garden or The Met.

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.