Lucia di Lammermoor at Royal Opera

The version of Il dolce suono that sticks to my mind was sung by Plavalaguna in The Fifth Element.

I thought Diana Damrau was an amazing Lucia - her acting was fantastic and her voice was wonderful. Charles Castronovo's Edgardo was also pretty good. Their interplay Act One was top notch. Kwangchul Youn was outstanding as Raimondo with a true basso profundo voice. Diana Damrau sang Il dolce suono beautifully in the final act. Top marks musically.

As for the "split screen" stage design. Katie Mitchell's direction worked in the first two acts. The 'background' activities added visual interest and the tight stage gave that claustrophobic / intimate feel to the production. The last act didn't work: the 'killing' and 'miscarriage' scenes were really distracting to the singing that was taking place on the other side of the stage: one required intense concentration to hear the music. Was it necessary to 'fill in the gaps' (of the killing of Arturo)? I didn't think so - as those scenes deprived the audience of their own visual and emotional imaginations.

If this production were to be revised, a little nip and tuck to the direction could make a huge improvement for the audience. Let's see.

Comments

Dialogues des Carmélites at the Royal Opera

Michael Levine's set design for Dialogues des Carmélites was minimalist. Actually, was there any set design? I suppose the director Robert Carsen was clever at introducing formation of human figures in many different ways to suggest the context of the opera. It kind of worked. Blanche, sung by Sally Matthews, was pretty good. Though I did find the whole work quite tedious - I think the intimate nature of the dialogues needed a small and intimate performing space i.e. not the Royal Opera House. The ending was worth waiting for. Dramatic. Poignant.

Der fliegende Holländer at the Royal Opera

I have managed to avoid all the reviews as I didn't want them to taint my experience of the new production of Der fliegende Holländer at the Royal Opera. The long overture was accompanied by a seascape - essentially water running down a curtain across the stage forming the sea. The set was clever without cluttering the stage. A moving shadow represented the ghost ship - which had to be one of the most economical and convincing effects I have ever seen on the Royal Opera stage. Bryn Terfel was magnificent as the Flying Dutchman singing with lyricism and drama. Senta, sung by Anja Kampe, had a Wagnerian voice with her top note ringing through the auditorium. Even the supporting cast of Hans-Peter König (Daland), Torsten Kerl (Erik) and John Tessier (Steersman) was strong. The chorus was fantastic - with enough singers carrying the drama. Marc Albrecht at the helm in the pit got the orchestra to play dynamically without losing the details. I am hoping this Dutchman will return to the...

Saul at Glyndebourne

What a superb revival production directed by Barrie Kosky. The big choruses were done with the singers doing slo-mo mannerism action. Markus Brück was particularly fine with Saul, and the rest of the cast did a super job to bring this oratorio to life. Laurence Cummings maintained dramatic momentum with the OAE while darting from the rostrum to the organ - including playing the solo intro on a spinning organ on stage!

Diary of a Culture Hedonist

Search This Blog