NI Opera scores a hit with Donizetti's L'elisir d'amore
9 October 2013, Newtownabbey, Northern Ireland
Unaffected and heart-warming: Anna Patalong and John Molloy in NI Opera’s 'Elixir of Love'(Photo: Paul Moane)
Recasting Donizetti’s comedy of gullible hicks as Grease set in a dowdy Irish high school might sound odd, but Oliver Mears’s production for NI Opera pulled off the trick with witty charm (helped along by Arthur Jacobs’s lovely old translation).
So well pitched was Mears’s staging of this bel canto classic, that the unpretentious crowd in the spanking new Theatre at the Mill in Newtownabbey, a few miles north of Belfast, awarded it one of the most spontaneous standing ovations I’ve seen.
The tiny orchestra of 17, soloists of the Ulster Orchestra, could have had a bit more zing but David Brophy conducted with a lilting elegance that conjured Schubert in chamber-mode in the overture before reverting to the strumming accompaniments of Donizetti’s graceful, pathos-laden idiom; the (mostly) single instruments revelled in the chaste detailing of this affectionate score.
It may not have been strict social realism, but Mears treated his personnel like real people, letting relationships develop and creating familiar characters without cliché. Anna Patalong’s teacher Adina was a buttoned-up, repressed romantic just waiting for someone to melt her ice, and her beautifully controlled singing brought many shades and a rare ardour to what can be a chilly character. There was a palpable sense here of someone growing up and admitting her true nature to herself.
Anthony Flaum sang Nemorino, rather squeezed at the top but altogether very fluent. This geeky no-hoper actually turned out to be a pretty snappy mover, and Flaum caught the mix of baffled innocence, droopy defeatism and childlike glee brilliantly; teased, beaten up, rejected, he just bounced back like a beach ball.
The beating-up was administered by James McOran-Campbell as bluff chancer Belcore, with his army-recruitment gang the object of much cooing admiration from the sixth-form girls. Inevitably stealing the show was John Molloy as Dulcamara, a slippery customer equipped with a chemistry set and stage-Oirish asides that were, for once, actually quite funny. From his first insulting greeting to the ‘provincial folk’ patsies, this Dulcamara was a ball of opportunistic energy, resourceful and adept, creating a proper relationship with Adina (their ‘Senator’ cameo was particularly smart) and the happy vehicle for Donizetti’s optimistic contention that human nature can create good out of the most unlikely motivation.
Mears’s fast-moving, inventive and sensitive staging was full of good things: I particularly liked a foolish wedding-feast parade of historical lovers. There weren’t too many subtexts here, but this was among the most unaffectedly heart-warming and well-thought-out Elisirs you could hope for.
NI Opera’s Elixir of Love will tour to the Republic of Ireland from 25 January to 8 February 2014, visiting Navan, Sligo, Dun Laoghaire, Letterkenny, Dublin, Tralee and Galway.
Peter Grimes on Aldeburgh Beach
21 June 2013, Aldeburgh, UK
Alan Oke, braving the elements on Aldeburgh beach as Peter Grimes(Photo: Robert Workman)
Review by Hannah Nepil
Widely anticipated as the Benjamin Britten centenary tribute of the year, Tim Albery’s production of Peter Grimes on Aldeburgh beach – open to the elements – could hardly avoid selling out at the box office. In the end, the event proved every bit as successful as the build-up had promised.
This was, astonishingly, the first production of Peter Grimes to be staged in Aldeburgh, the composer’s sleepy home town on the Suffolk coast, where the opera’s narrative actually unfolds. Walking along the ram-packed seafront, I felt as though I was limbering up for a rock gig. On one side of the beach stood a towering block of tiered seating, flanked by an army of Portaloos. On the other was the coastline, blocked partially from view by Albery’s impressive but simple set: an enormous platform comprising five large fishing boats.
Once the music started, the audience was fully immersed in Grimes’s world – one underscored by the cry of swooping seagulls, the sound of rushing wind and the rumbling of the North Sea, just a few metres away. The show began shortly before sunset and ended at midnight. Peter Grimes’s final departure took place in total darkness. A more haunting conclusion would be difficult to imagine.
Inevitably, there was a price to pay: miked up to the maximum, the singers struggled to maintain sound quality, while Steuart Bedford’s pre-recorded orchestra boomed out of the speakers. Words were muffled by electronic distortion and, with no surtitles to fall back on, it was easy to lose sense of the plot. At times it was hard to distinguish who was singing at all. For those who had not seen the opera before, this possibly wasn’t the best way in.
Then again, the singers performed with conviction and stoicism – some braving the elements in the skimpiest of costumes. Alan Oke’s Grimes was a portrait of complexity: rough, tough and terrified. Giselle Allen's Ellen Orford exuded softness and warmth.
There’s little chance of this Grimes being repeated in the near future; but it certainly won’t be quickly forgotten.
'Grimes on the Beach' will be screened in cinemas across the UK from Thursday 5 September 2013. Click here for the full screening schedule and online bookings
English Touring Opera's spring season 2013
8 April 2013, London, UK
Craig Smith as ETO's Simon Boccanegra(Photo: Richard Hubert Smith)
Kitty Whately and Lorna Bridge in a scene from Mozart's 'Così fan tutte'(Photo: Robert Workman)
Review by George Hall
English Touring Opera’s spring tour is a huge undertaking, visiting 19 theatres around the UK, from Truro in Cornwall to Perth in Scotland, over a busy three months of travel and performance. This year’s tour offered three main-stage titles as well as the new children’s opera Laika the Spacedog, and Spin, a new piece designed for young people with severe learning difficulties.
Donizetti rare L’assedio di Calais (Siege of Calais) proved the most problematic evening of the three, though not on account of the piece, a mature work (1836) which, even if not a major hit in the composer’s lifetime, has been successfully revived in ours – notably at the Wexford Festival and twice by the Guildhall School of Music and Drama; director James Conway’s production, though, represented the first professional staging in the UK.
It was not one of his best. Part of the problem stemmed from a decision to drop the opera’s third act – in which the English King Edward III, urged on by his queen, pardons rather than executes the famous Burghers of Calais, and the opera ends on a note of forgiveness and joy. Donizetti expressed dissatisfaction with his original act, and revised it, but while there is evidence that it was entirely dropped in later Neapolitan performances, there is none to suggest that this decision had the composer’s approval. In ETO’s production, individual numbers from Act III were repositioned earlier in the score while the narrative’s overall trajectory was damagingly truncated: ending with the burghers preparing for martyrdom radically alters the work’s moral tone.
The visual inspiration was the Siege of Stalingrad of 1942-43, rather than the 14th century. Samal Blak’s designs conveyed the desperation of warfare, though the overall effect was untidy rather than coherent. What distinction the evening possessed came from Jeremy Silver’s conducting and some fine singing from Cozmin Sime’s Edoardo, Eddie Wade’s Eustachio, Paula Sides’s Eleonora and especially Helen Sherman’s Aurelio, who demonstrated a real flair for articulating Donizetti’s flamboyant writing.
More successful in its traditional way was Paul Higgs’s staging of Mozart’s Così fan tutte, set in period in Blak’s elegant designs and sung in Martin Fitzpatrick’s English translation. Not all of the complex ambiguity of the piece came through, though enough did to maintain interest; indeed the production came more sharply into focus as it went on.
While James Burton’s conducting needed sharper definition and deeper insight into Mozart’s score, the cast was more than presentable. Especially notable were Lorna Bridge’s vulnerable Fiordiligi, Kitty Whately’s characterful Dorabella, Anthony Gregory’s graceful Ferrando and particularly Paula Sides’s Despina. Sides gave a fully thought-through performance that emphasised the character’s cynicism to a degree that was almost disturbing. This is a role that often sounds vocally pinched, so it was good to hear its vocal lines fleshed out with meaningful tone.
ETO’s third production was its most ambitious. Simon Boccanegra is a big score, making substantial orchestral and choral demands as part of Verdi’s grand scheme. Even with less than ideally sized forces at their disposal, the company attacked the piece with real gusto under its music director, Michael Rosewell, whose assured Verdian instincts registered with appreciable dramatic momentum.
The cast, too, rose to a series of major challenges with distinction. Craig Smith’s Boccanegra combined vocal and dramatic authority in a realisation that rose to genuine nobility. Keel Watson’s Fiesco possessed magnetism and grandeur, his resolute bass employed with imagination and variety. Elizabeth Llewellyn encompassed the requirements of Amelia with consistent vocal beauty and musical discrimination; with each new role she seems an ever more likely candidate for a top-level career. Charne Rochford took on the major tenor challenge of Gabriele Adorno with genuine success, even if the role clearly taxes him. Grant Doyle made the sinister Paolo into a focus of attention in a performance that was as finely acted as it was firmly sung.
This was Conway’s second production of the season, and in it he showed what he is capable of at his best. The young, award-winning designer Samal Blak (who designed all three ETO productions) moved us forward to the corrupt and violent Italy of the 1970s, where the drama played out clearly on a stark platform. Dramatic values were high throughout, and the evening rose to remarkable heights.
ETO’s spring season continues until the end of May, visiting Buxton, Cheltenham, Warwick, Perth, Cambridge, Guildford and Truro.
Bellini and Puccini at Washington National Opera
11 March 2013, Washington, US
Angela Meade triumphs in the title role of WNO's new 'Norma'
Patricia Racette as Manon Lescaut(Photos: Scott Suchman)
Reviews by Karyl Charna Lynn
Dazzling singing but stilted, uninspiring direction defined the WNO’s new production of Norma. Bellini’s powerfully melodic masterpiece about seduction, betrayal, vengeance, love and sacrifice seethes with deep-running emotions.
Director Ann Bogart, who has a theatre background, added lots of movement and action to this basically static opera, with no discernible purpose. She emphasised the ceremonial aspects of the work with lots of symbolism and stage business that detracted from the exquisite singing. There were white robed vestal virgins walking in formation like Egyptian hieroglyphs. Meanwhile, Roman soldiers clumsily stampeded up and down the steeply raked stage.
What saved the evening was the extraordinary singing of Angela Meade as the high-priestess Norma and Dolora Zajick as her attendant, Adalgisa. Meade’s voice is exquisite, technically solid and dramatically powerful with the right touch of vibrato. Her floating pianissimo was breathtaking. Zajick, whose singing was just as impressive, also delivered on the emotional and dramatic aspects of her character.
Tenor Rafael Davila made a respectable Pollione, the object of both women’s affections. He showed a pleasing lyrical timber and the high notes were all there, if at times forced. Dmitry Belosselskiy was authoritative as Oroveso. Daniele Rustioni struck an ideal stage/pit balance, never covering his singers, while drawing lush sounds from the orchestra. His timing (or lack of it) let him down in the first act: allowing no pauses for the musical climaxes to make their impact, he stole some of the fireworks from the performance.
Manon Lescaut Puccini
The elegant singing continued in Puccini’s Manon Lescaut, which played in repertory with Norma, but with a traditional staging by director John Pascoe that successfully integrated the music and narrative. The entire opera was staged against the backdrop of the original novel, by Abbé Prévost, on which it is based. An enormous page with Des Grieux’s writings opened each act.
Patricia Racette in the title role sang rapturously, embodying Manon’s emotional transformation from the shy girl headed for the convent to the desperation she feels, dying in America’s desolate wasteland. Her finely nuanced vocal power was riveting. Although it took Kamen Chanev the best part of the first act to warm up, it was worth the wait. His Des Grieux was heartfelt and genuine and you could feel the character’s sense of dejection and pain in his singing. Jake Gardner was a convincingly lecherous, revengeful Geronte, especially in Act II, parading around bare-chested in a silk robe. Philippe Auguin conducted fluently.
A new era for Florida Grand Opera
4 March 2013, Miami, US
Rachel Gilmore, thrilling as Amina in FGO's 'La Sonnambula'(Photo: Gaston de Cardenas)
FGO's new general director, Susan Janis(Photo: Nick Garcia)
Report by Karyl Charna Lynn
There’s new energy and vitality at the Florida Grand Opera, which hasn’t been felt since October 2006, when the company staged a spectacular season to inaugurate the Ziff Ballet Opera House, its state-of-the art new home. Then the economic meltdown came and FGO was hit hard. When the company needed funds the most, its budget was slashed and programming suffered.
Robert Heuer, FGO’s general director of 32 years, retired in 2012, and Susan Danis, former executive director of the Sarasota Opera and fundraiser par excellence, is now at the helm.
Danis’ forte is building opera companies on financially secure foundations. Sarasota Opera’s budget grew from US$3.2 million to more than $8 million during her 12-year tenure – exactly what the FGO needs. ‘Miami is a great international city that deserves a great opera company presenting exciting productions with world-class singers and thought-provoking repertoire and realizations of the operas,’ says Danis. ‘That’s my vision for the future of the Florida Grand Opera.’
She has wasted no time in bringing her vision to fruition. The 2013-2014 season (the first she’s planned) is diverse, with top-notch singers and directors, including honouring the ‘birthday’ composers Wagner and Verdi: the company’s first ever Tristan und Isolde features Peter Sellar’s Tristan Project with Christine Goerke as Isolde; Verdi’s Nabucco, which FGO hasn’t performed since 1981, uses Thaddeus Strassberger’s ‘opera within opera’ concept; there’s a nod to contemporary opera, with a new production of the Miami-based composer Marvin David Levy’s Mourning Becomes Elektra; and the season ends with Puccini’s Tosca.
One major improvement has been the arrival last season of a new music director, Ramon Taber, who has breathed new life, energy and precision into the orchestra. Two operas staged recently, La Sonnambula and The Magic Flute, were surprisingly refreshing, with exciting young talent. In La Sonnambula, Rachele Gilmore (Amina) thrilled us with her spine-tingling coloratura, and Michele Angelini (Elviro) sang with honeyed tone. Tebar kept up a crisp tempo in the pit, making for an engrossing evening. Meanwhile, in the Mozart, Andrew Bidlack was an especially noteworthy Tamino.
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