Der Rosenkavalier at the Royal Opera

I was super excited to see Der Rosenkavalier at Royal Opera with Renée Fleming in one of her finest roles as Marschallin. And it didn't disappoint. The super energetic Andris Nelsons plough into the opening bars with such intense energy so to make the post coital scene at the opening so tender. Alice Coote's interpretation of Octavian had that adolescent quality that somehow worked (though at times it bordered on tomboy-ish). Matthew Rose was a gigantic Ochs on stage - his less sophisticated Viennese German (as intended by von Hofmannsthal) sometimes got lost as the tempo quickened. Sophie Bevan, as Sophie (!) was on fine form and sang with a beautiful innocent sheen.

Andris Nelsons lured the entire audience into the climax of the opera - you could hear a pin drop - when Fleming started ‘Hab mir’s gelobt’ - the pacing, the effortlessness, the meaning and the beauty of her voice. The others joined in with intense intertwining and soaring lines - oh my it was to die for!

The production and set design worked most of the time. The farce in the last act was sufficiently farcical, except the very end with the return of those arm dealers (von Faninal was a arms dealing family in the opera).

There was a very good rapport between Andris Nelsons and the orchestra. While there were the occasional slips in the strings section, it was more a case of the players taking risks and going with the Nelsons' tempi so to deliver a super performance.

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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!

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