Tag Archives: David McVicar

Exceptional polish / Die Zauberflöte / Royal Opera House – 7 May 2013

13 May

ROH FluteIt has been a bit of a crazy week but really have to put down in writing how good the performance of the Magic Flute really was. McVicar’s decade old production may be very short on the crowd pleasing spectacle the work is calling for and is particularly cumbersome in its design sensibility. But all was forgotten because of some truly world class singing by the largely British cast.

Simon Keenlyside who originated the role of Pappageno on the first staging was a ball of silly antics and sung with great finesse. Andrew Staples gave us a very youthful Tamino with great evenness of tone and winning sensibility, Albina Shagimuratova was a very confident Queen of the Night, thundering in and nailing the treacherous coloratura with unexpected transparency and accuracy. Susana Gaspar acted with brio but her Pappagena never quite got off the ground as the direction and costuming created a character apart that doesn’t quite mingle harmoniously with the rest of the cast. But the night ultimately belonged to the marvellous Pamina of Sophie Bevan, singing a gleaming account of the part with radiant, plush sound and great charm. There is no greater acclaim for a singer singing this part than to radiate happiness and to make the auditorium fall in love with her. Bevan put a huge smile on our faces every time she was on stage, even adding to it by recovering rather nicely from a chair fall and incorporating it in her acting.

The conducting by Julia Jones may have been largely utilitarian and with little attempt at conjuring Mozart’s magical glow. All the largely humdrum playing from the pit  could not mask how truly beautiful the singing was, reminding us all how a really bouncy cast can transform even a clinical account into something memorable. It was a shame this second cast only had three performances to prove their worth but was very pleased to hear satisfied punters all the way down from the Amphitheatre. I hope that we will see more frequently casts of this quality that don’t seem to have been put together because they can number lots of international names just for the sake of it. The Brits in the cast acquitted themselves so well it makes some of the casting decision frequently made at Covent Garden seem a little bit strange. More please!

ROH Flute List

Curtain call video

Some Tweets from the evening

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The shine of the blade / Medea / English National Opera – 13 February 2013 (dress rehearsal)

15 Feb

ENO MedeaSeeing David McVicar slowly metamorphosing into the new Zeffirelli at the Met Opera in the last couple of years, I was a little bit weary about how idea rich his take on Charpentier’s Medea could be.  French Baroque thrives on dance and spectacle and a director that comes up short can sink a production. I was hoping for some of  the verve and invention from his Glyndebourne production of Giulio Cesare in Egitto than the stale Anna Bolena and Maria Stuarda of late. But one thing I was sure about was the excellent fit of Sarah Connolly for the title role, last November she gave a captivating rendition of Quel Prix in concert but nothing could have prepared me for the outstanding quality of this production.

I know a lot of people don’t like reports based on the dress rehearsal but as I am seeing it twice more later in the run I promise to update if any other observations creep in that make revision imperative.

The performance lasts near 3 hours and 20 minutes, as McVicar and Curnyn decided (wisely in my view) to cut the half hour prelude in praise of the Sun King. After the short and punchy overture we are thrown straight into the torments of (the newly arrived in Corinth) Medea. The setting is a wartime 1940s panelled interior, the set slightly angled at 70 degrees with a raked mirrored floor. Three tall grazed French doors (oh the English terminology comes handy in context) are leading into a peripheral corridor that is used for myriad entries and exits throughout the evening. A simple unfussy but sophisticated backdrop, its faded neoclassicism a subtle allusion to the original period of the work. Straight from the start the smooth changeover from waiting room to an officer’s mess room (complete with uniformed cocktail waiter) is handled with great care, with stage hands dressed in tuxedos befitting the stately setting of the work. With the restrictions that an Edwardian theatre like the Coliseum imposes on each director McVicar showed his class as a world renowned specialist in the field. The set even though static till the last few minutes of this production, constantly changes with subtle cues, the spotlights in the corners of the room move in to make a more intimate atmosphere or to spotlight the King while lying on the floor beaten by Medea’s magical powers in Act Four. The large glazed doors acquire opaque panes and the wall sconces acquire lit candles in the last Act. By extinguishing them before the final scene the smell of wax travels across the auditorium adding an olfactory element to this production.

The costumes are exquisite with great attention to detail. The 1940s atmosphere staying strong with the tailored nature of all the womenswear and the officers’ uniforms. The glamour of the robe (here changing into a rather eye-catching gold lamé evening dress) as Connolly reveals it in her travelling trunk in the first few minutes on stage, also closes the opera three hours later having been poisoned by her and worn by Creuse who dies a painful (if beautifully sung) death. This being baroque opera, amongst all the tragedy we get a lot of dancing. And I am delighted to report that McVicar’s mix of romp and camp works so well it truly adds interest and makes the dances feel more integrated than during ENO’s last foray with Castor and Pollux where the dances seemed disconnected and throwaway. As originally planned for the French court the dances add amusement and atmosphere and slight relief from the tragedy at the centre of the work. The very first example is with the dancers donning RAF uniforms in a dark blue colour, their vibrant routine surely caused a raucous applause and added some light relief to a very sombre beginning. The six male and six female dancers appear in many guises, zombie-like denizens of the underworld (following the cross dressing personifications of Vengeance and Jealousy) to spirits of beautiful women. The biggest tableaux using the dancers is the “party scene” with the appearance of Aoife O’Sullivan as Cupid with black glittery wings aboard a Spitfire covered in pink glitter (standing in for Cupid’s chariot), surely the campest prop to grace a stage for some time! On the side of the pink plane there’s  a large stylised fan on a podium with a period microphone awaiting in a jazz siren style for an Italian captive of love (Sophie Junker) to sing Chi teme d’amore Il grato martire (left in the original Italian here).

It would be impossible to overstate how towering Sarah Connolly’s performance was. She dispatched this difficult role with such elegance and stamina. I was totally blown away. Her unwavering intensity while singing in the original soprano key was spectacular. A few times she sacrificed the beauty of the line for the sake of expression, especially when addressing Creon and Jason but it added such variety and pathos I don’t think even the most narrow-minded critic will find fault. When William Christie gave her the CD set of his recording and told Connolly this was the role for her, he was absolutely right. Once she hits the floor in Act Three and sings her pivotal aria Quel Prix de mon Amour the transformation from wronged wife to a woman driven by pain looking for revenge  is unavoidable. Soon after she discards both her jacket and skirt to continue the scene in a black negligee and evoke the spirits of hades to help her. McVicar uses the stage lift as the pit where smoke and her demonic assistants come through. It was a huge relief that he chose such a standard way to introduce them instead of trying to reinvent the wheel needlessly. At this point she is armed with a large kitchen knife that is her companion for the rest of the production as she closes in to her final act of vengeance against Jason. Fittingly the last coup de théâtre belongs to Medea, when the corner of the set comes apart and she sings her final words to Jason and then she is elevated and flies away. This was another example of the Director not trying to re-invent the action but followed on the steps of both Charpentier and Euripides in the Greek original. Also another telling approach that looks back at the performance practises of ancient Greek drama, was how the dead bodies of Creon and Orontes are presented. They appear on trolleys under the cover of blood splattered sheets. A very similar device to how the dead would be wheeled on an Ekkyklema a practise maybe not that familiar to British audiences but anyone with any background in the Classics would instantly recognise it.

As you can tell by now, I am very happy with the staging and it all came together so beautifully to make up one of the best opera evenings I’ve ever attended. Connolly gives a definitive interpretation, surely a highlight of her illustrious career so far. The rest of the cast get somewhat overshadowed by her presence but some great singing comes from Katherine Manley especially in her duets with Jason and Medea revealing a voice of great flexibility and a characterful actress. Jeffrey Francis give a very potent performance with voice to spare. The slightly goofy personenregie for Orontes does benefit by the lightness of touch that Roderick Williams brings to it. Brindley Sherratt brought gravitas and made for a great opponent to Medea, but crucially relaxed when left with Creusa away from his public function. Aoife O’Sullivan, Oliver Dunn and Rhian Lois give performances full of gusto and promise.

The orchestra gave a vibrant reading of the score with a few raw edges that will disappear before the first night. Like with Castor and Pollux Christian Curnyn manages to coax some idiomatic playing from the players while taking them out of their comfort zone.  The chorus sings beautifully through the evening, sometimes in military uniform and others in evening dress from stage and pit. Navigates Charpentier’s deceptively subtle but fiendishly difficult melodies with skill and obvious affection.

If you’ve read this far, I congratulate you and also implore you to go and see this truly wonderful production, do not be put off by the translation or the lack of “period instruments” this is an occasion to treasure and an all too rare chance to see this masterpiece of the French Baroque in London. This is one of those performances you will be telling friends about twenty years from now…GO!

ENO Medea list

Some Tweets from the evening

Twitter - OperaCreep- Woa McVicar #ENOmedea

Twitter - OperaCreep- Oh dress rehearsal audience ...

Twitter - OperaCreep- If this is not a career highlight ...

Twitter - OperaCreep- To the people that don't get ...

Twitter - OperaCreep- It was lovely having the chance ...

Hold on tight Medea is coming

16 Jan

Sarah Connolly sings ‘Such is the price of love’ / Quel prix de mon amour

You all know with how much excitement I’ve been waiting for this production to finally arrive. Since the launch of the season last April I have been intrigued what David McVicar will do with Charpentier’s glorious baroque confection.
With Covent Garden pretty much ignoring baroque, relegating it downstairs, claiming audiences would not be interested in sufficient numbers and without a period instrument orchestra. It is the turn of opera loving audiences to prove them wrong.

According to the press release: ENO’s new production of Medea relocates the famous Greek tragedy to the 1940s, setting it against a decadent, hyper-stylised 1940s backdrop which McVicar describes as “styled to within an inch of its life”

If you have the slightest interest in baroque opera or want to see one of the greatest British singers, don’t miss this opportunity.  The last foray into this era by ENO with Castor and Pollux was a sparkling triumph of young talent.

———————Ticket Offer alert

50% off certain seats for the following dates: 
Friday 15  + Wednesday 20  + Friday 22  + Thursday 28 February + Wednesday 6 + Friday 8 March

Promo code: GUARDEXMED

More details here:

http://www.guardian.co.uk/extra/members/2013/jan/23/extra-medea-offer

My Top 12 of 2012

20 Dec

2012 graphicThe end of the year and we all give in to the convention of going through the draws of our minds and paying tribute to the most entertaining and uplifting events of the year. I published a top 11 list last year and thought I’d avoid innovation and go for a top 12 for this year. I am only hoping I will not be blogging in the year 2040 as the list will become too long.

Mittwoch aus Licht

Was a cross-disciplinary spectacular. Thought as unstagable but somehow Graham Vick managed to take us all on a journey. It was cooky, it was extravagant and above all a memory to last a lifetime. Cue in helicopters, cosmic camels and a trombonist in a paddling pool. Here’s my post on the experience.
Click here to read the post.

Alice Coote

Her interpretation of Winterreise was one of the most moving performances of the year. Her programme in honour of  Kathleen Ferrier was a joy to listen to. Her concentrated deeply tragic version of Britten’s cantata Phaedra was also wonderful. We are very lucky to have her and delighted the Wigmore Hall thinks so too.
The CD and download of her Wigmore Hall Winterreise is available to buy from 8 April 2013, here’s the link to the Amazon UK page.

Click here to read the post.

Calixto Bieito’s Carmen

English National Opera were so right to bring to London this extraordinary directorial tour de force. One of the few times when a very strong directorial concept marries with an opera so deeply they become one. The production was an earthy manifestation of Bizet’s masterpiece with such assurance and self-containment that enthralled.
Click here to read the post.

Anja Harteros in Otello

That was a night of wonderment and astounding depth. Even the creaky fusty old production didn’t matter. It was impossible to avert one’s eyes from the purposeful, intense Desdemona underpinned by a complexity so inspiring. Harteros may have a lot of detractors and her record at showing up for shows may not be the most consistent. This performance left me tingling and wanting to see her again soon.
Click here to read the post.

McVicar’s Rosenkavalier at ENO

What a beautiful, non-fussy production with a great cast that understood what Strauss is all about. John Tomlison, Sarah Connolly, Sophie Bevan and Amanda Roocroft had a wonderful chemistry on stage with Edward Gardner creating a most dense gold coloured sound from the pit that made it a very special evening.
Click here to read the post.

Scottish Opera’s Magic Flute

A beautiful steam punk inspired production by Thomas Allen made by a singer for the singers. Showed Scottish Opera in a great light despite the recent financial and organisational ups and downs. It was well cast and the sure-fire hit they need to help them stay relevant and afloat.
Click here to read the post.

Opera North’s Giulio Cesare

With the great sets of Leslie Travers and pacey direction of Tim Albery. The performance was built around the radiant and alert performance of Sarah Tynan who was an ideal Cleopatra and Pamela Helen Stephen’s earthy Caesar was the compete opposite all battlefield mud and conflict. The production was tightly knit and beautifully sung throughout. The Royal Opera may stay away from any baroque opera but thank heavens that regional companies are not as apathetic towards the interpretation possibilities of it. And are willing to tour it across the country to thousands of people in the regions.

Ailyn Pérez

I still remember the buzz before her unexpected recital in March (she took over for an indisposed Giuseppe Filianoti) rushed to grab some tickets to see her and was not disappointed. Her creamy delivery and melting honesty was such a potent blend. She is an artist to watch and can’t wait to see her return to London very soon.
Click here to read the post.

Véronique Gens

She is  firm favourite of mine and had the chance to see her in action twice in the last few months at the Wigmore Hall. Her delivery of mélodies was exemplary, fusing a breezy natural style with a warm stage presence. Her singing manages to look effortless and yet is full of innate good taste and finesse. 
Click here to read the post.

Royal Opera’s Les Troyens

The production was overall hit and miss, but the incredibly vibrant,  Cassandre of a real tragedienne like Anna Caterina Antonacci the butch Enee of Bryan Hymel,  the variable but very regal Eva-Maria Westbroek and the sparkling tenor of  Ed Lyon made for a very memorable musical evening. So much so, that I snapped up another ticket and made my way to the very gods of the lower slips of the Amphitheatre not phased by the uncomfortable sitting arrangements over the over five hours duration. 
Click here to read the post.

Magical Ravel double bill at Glyndebourne

It was my first visit to Glyndebourne and it was everything I hope for and even more. Both productions were simply magical. Especially the brand new L’enfant et les sortilèges was as joyful to watch as it was to listen. The London Philharmonic played with such distinction and style that left us buzzing. Also the long interval was very welcome and our restaurant meal was expensive but also utterly delicious. Laurent Pelly was clearly at home in the whimsical and magical worlds of the two jewel like operas.
Click here to read the post.

Sarah Connolly

Another firm favourite and one singer I can not have enough of. Saw her sing Elgar, French baroque and Strauss. All of them distinctive all of them spectacular in their own right. Her upcoming Charpentier Medea with McVicar directing for ENO will be a great start for 2013 and her appearance as Phèdre in Hippolyte et Aricie at Glyndebourne will have me booking for a return trip to East Sussex in August. 
Click here to read the posts.

So many more entries could have made it here but the above are a quick distillation of some great evenings out and being present for some music making of great quality and variety. 2013 will hopefully be as full and interesting, maybe even bringing with it some surprises and new discoveries. A big thanks is owed to all my readers for putting up with my meandering blog posts. Have written this blog based on my belief that opera is alive and constantly changing and as a way to inspire others to give it a go. If just a single reader was inspired or intrigued to go to an opera or classical performance in the last year, it would make writing this blog all the more enjoyable and purposeful. 

Courses for horses / Les Troyens / Royal Opera House, Covent Garden – 5 + 11 July 2012

14 Jul

The most anticipated opera production of this summer in London (aside tenuous connections to the dreadful 2012 Festival) a new production of this operatic behemoth. The signs were bad when the stalwart tenor Jonas Kaufmann had to withdraw and Brian Hymel took on the role of Enée. A lot of concerns were voiced and predictions of doom and gloom. Of course what opera fans should have worried about was the dead hand of David McVicar who proved once more to lack both a revelatory insight or even an unshakable overarching vision. The production is patchy and doesn’t really serve the material well.

In a work with considerable longueurs courtesy of Berlioz a bad production can make it from uncomfortable in length to unbearable. McVicar seems to only care for the first two Acts who were crowd managed to perfection and the set by Devlin was handsome and sleek. The problem of course is why would anyone think moving the action to the 1850s was a good idea. This looks more like a bourgeois gathering at the Cafe Royal than the desperate inhabitants of Troy under a ten-year siege. Why the mechanistic look dripping with rusty metal? Why the by the meter long flowing dresses and lace and trims everywhere one looks? Making Anna Caterina Antonacci look like the mad woman on the scrapheap of twisted metal is such a mindless degradation of the intentions of Berlioz and the gravitas of the persona, making the viewer instantly weary of what’s up next. The arrival of the horse is indeed impressive and its movement as sleek  as we would demand. The vivid image of its fiery presence dominating the floored Cassandre is a wonderful moment of almost cinematic power. Of course one has to wonder why did the horse need to go up in flames? It seems pyrotechnics are the last refuge of desperate directors trying to capture the attention of indifferent audiences…ahem let’s not recall the disastrous Don Giovanni (that has thankfully been scrapped for ever).

Unfortunately his Carthage Acts look so disconnected and romanticised, there is no obvious timeline connection to Troy. The stepped “apartment block made of mud” set attracted applause on the first night I saw it, which made a lot of us present cringe.  More obvious this failing is when Enée and his soldiers walk in, disrupting the entertainment and love in of Didon and her subjects. Eva-Maria Westbroek is dressed in full on odalisque costume, matt gold dress and a relaxed off white robe, a Bedouin meets Parisian fashion look in total contrast to the 1850s military uniform of the Troyans. Their appearance makes both Didon and her setting look even more shabby.  She also sits on a model of the town which later on becomes airborne in the manner more appropriate to Star Wars: A New Hope than a Berlioz opera. If McVicar wanted to say anything through the set costumes and the truly dreadful dancing is beyond me. The programme may dismissively informing us that audiences can’t accept men in skirts any more but somehow ignores that a more classical approach serves the material better, but of course is less of an ego boost for the director.

This production managed to go through the motions professionally and kept stage interest active but lost on the way to crowd pleasing the dramatic core of Berlioz’s complicated and multifaceted epic. It is a tragédie lyrique after all and any flippant choices for relocation of the action to another time period take a toll on the effective staging of the work. The current cult of the director being imposed on a tricky work like Les Troyens creates a hollow construct that does much of the sublime music and singing no justice. A particularly ridiculous example was Ed Lyon being pulled up in the flytower like a housewife would collect her washing in Napoli…dragged up on a rope, after singing a most sublime aria of longing. Why not go for a more conventional rope ladder to come down from the mast? It was just complication for the sake of complication with no apparent thinking behind it.

Had the chance to see it twice and the most diametrically opposite parts of the auditorium, a third row Orchestra Stalls seat at a cost of £183 and an Upper Slips bench seat for £15. The experience was thoroughly illuminating and very, very different. At Stalls one can be tantalizingly close to the singers and orchestra but the sound can suffer at times, while at the extremities of the gods the sound is surprisingly warm and immediate but a pair of binoculars comes handy!

The cast was uneven but with some great rewards to be had.

Eva-Maria Westbroek was a resplendent Didon, solemn sexuality paired with self-confidence, sense of purpose and demure deportment. Her singing started a big unsteady on the 5th but grew in confidence and dramatic power through the evening. Her final aria was truly fantastic, her Ah! Je vais mourir was so committed and forceful creating a compulsive atmosphere of empathy for the character. She sang the middle part of it straight at me, it was one of those unforgettable moments looking eye to eye with such a wonderful performer while she is on the final strait of the tragic trajectory of this most demanding role. The only constraint through the performance was the fairly stiff direction of McVicar who had her sitting a lot on top of toytown Carthage and on random cushions, creating a look of a dull odalisque in the Ingres mould. Westbroek is a physical performer that thrives in being able to engage more with the set and colleagues. So it was a relief to have her final scene played out against an off-black curtain instead of the set, thus liberated and being able to focus on the drama.

Brian Hymel may have lacked the stage charisma and the variety of colouring in his voice to be an ideal Enée but he surely made up in enthusiasm and eagerness to please with his technically accomplished and very well projected voice. On the two performances you could see him growing in confidence and the chemistry between him and Westbroek was there. Especially during the dire dancing in Act Four where she was getting very friendly with Aenee on a large pile of floor cushions (sounds downright dirty but wasn’t really). His stronger showing was during Act Five where he sang with great propulsion if not Gallic flair. He surely offered an impressive C at the conclusion of his Inutiles regrets which made for an exciting addition to the night.

The stand out performance of both evenings was Anna Caterina Antonacci’s Cassandre, she was both stylistically appropriate with an intense stage presence and a vivid embodiment of the character. Also the only cast member that looked totally independent of the particular holds of this production, almost a mini production inside McVicar’s simplistic mush. Her very entrance on both nights sent shivers down my spine. Her total conviction and stylised acting may looked out of date to many, but had that been replaced with what nowadays? She deeply felt the drama and relayed it in her great dark voice and charismatic presence, isn’t that what opera is all about? She brought a touch of the golden age to this production that was worth the price of admission alone, she was exceptional in all her perturbed glory and archetypal painted eyes in her palms. Cassandre has some of the most individualistic music in Troyens and Antonacci managed to not just fulfill the requirements but to go far and beyond and make us all drank with her charisma and dramatic personification of a vibrant figure from Greek mythology. Her two big arias in Act One were such intense theatre and her attention to every word gave depth and stripped back all the clutter and junk this production acquired courtesy of director and set designer. A triumph by a great singer/actress.

Unfortunately she had to duet with Fabio Capitanucci, who just belted out his part clearly not being told this was Berlioz he was singing and not some verismo shocker. I am afraid his gifts were wasted on a bad fit with the material.

Brintley Sherratt offered a vocally solid Narbal with impeccable taste and good sense for the rest of the ensemble.

Hanna Hipp one of the young artists of the Royal Opera was a wonderful sister to Westbroek’s Didon, sang with power and conviction, one can imagine what a great experience it must have been partnering one of the greatest singers of our times. Looking forward in seeing her in the revived Otello in a week’s time.

Ji-min Park as Iopas was a lovely light presence in the middle of the Carthaginian section, he sang his song of the fields with laser like projection, if a bit too sharp on the first night I saw him.

Ed Lyon sang Hylas’ aria that kicks off Act Five with such great beauty, gleam, wistfulness and melancholy. He surely made a big impression on both nights adding a much needed and thoroughly enjoyable punctuation to a long evening at the opera. He did caress the words with such flair and understanding for the style that won us over near instantly.

The chorus of the Royal Opera was in good form on both nights and worked exemplary well with the soloists and orchestra, which played with verve on both nights, despite the too quick tempi adopted by Pappano for the first two Acts. On the last night the balance between speed and dramatic development was much more settled and particularly the hunt and storm scenes at the beginning of Act Four seemed much speedier and alive.

The performance of the Thurs 5 July was relayed live and available to view on demand for the coming months at The Space, they also recorded the performances on 1st and 8th of July, so expect a full blown Blu-Ray and DVD release come 2013 with all the best bits of the three nights spliced together. Lets hope some of the silly extravagances indulged in this outing will be more subdued/rethought for the upcoming presentations in Vienna, Milan and San Francisco before it returns to the stage at Covent Garden in the future.

Delicious Sachertorte in Westminster / Der Rosenkavalier / English National Opera – 27 February 2012

7 Mar

Ah Rosenkavalier, the most delicious torte of the lot! The usual upturned noses in the circuit will have scoffed at the idea of having it performed in English. But they shouldn’t have worried too much, this was an evening of pure decadence and pleasure.

McVicar’s set all cream walls, decorative pipped on plaster work, painted ceilings, mirrored screens and swathes of gold lamé fabric and parquet flooring. The detailing was rich enough (despite a few complaints about the use of the same set for all three locations) and the direction was fluid with attention to the action and the glorious music. After the dud Don Giovanni at Covent Garden this was a moment of musical catharsis. Add to that a cast that summed up some of the greatest British singing talent of the last 30 years and you get an idea how fantastic it was. Not bad for what is meant to be London’s second opera house that apparently can’t afford big stars.

Amanda Roocroft’s voice may have lost some of its sheen, but her stage presence is the very essence of old-fashioned glamour. Her Marschallin is charismatic and sang with so much heart, its instantly winning. Her fragility and lack of comprehension of the vanishing world she inhabits is brought out by the staging, her boudoir lavish in small details but overall it seems in need of a fresh lick of paint. Her cavorting in bed with Octavian is fun and warm, her refuge from the pretentious Viennese high society. The role fits her like a glove. Her knowing glances after she lets Octavian go and straight into the arms of Sophie was beautifully acted, as the woman who gives in to young love with an air of a lifetime’s experience.

John Tomlinson is one of the greatest names of British operatic singing. His horny Baron Ochs was fun-filled and showing off his apparent lack of sophistication. His red cheeks with the exaggerated make up added another goofy touch. His energy and enthusiasm never waned  and his particularly lecherous approach to the young Sophie on the wedding day was perfectly judged, slimy in its upper class snobbery but yet pathetic in his disregard for her feelings. Also the way he addressed the Marschallin in the first act was the look of a man who knew his place despite his bone headed arrogance.

Sophie Bevan was a deeply elegant Sophie who waded through her high notes like a fish in water. Her charm and beauty propelled her stage persona. Her falling in love with Octavian during the presentation of the rose was perfection. The wide eyed expression she sported as Connolly showed up in her splendid gleaming suit of armour was that of a woman falling in love for the first time, blinded by the magnificent sight. Awkward and overwhelmed she grew in confidence while trying to see if Octavian was feeling the same way. After her splendid turn in Castor and Pollux last winter she proved herself to be a bona fide star soprano in the making.

Sarah Connolly in her latest and maybe one of her last assumptions of the role of Octavian (she’s moving slowly into different repertoire leaving trouser roles behind) was a joy to watch and to listen to. Her acting from young louche young aristocrat to a cross dressing country maid was every bit as entertaining as it was sublime. She was radiant and in very good voice. She was the glue that held this show together. Her presentation of the rose was poised and a perfect foil for the youthful blonde charms of Sophie Bevan. A moment so perfect that the world seems to stop for a millisecond and observe the beauty. One of those performances that look effortless but yet are truly intelligent. The journey from the Marschallin’s bed chamber to the final trio was the journey to maturity through the course of true love and it’s many (sometimes hilarious) obstacles.

The production was verging on the unapologetically traditional. It’s the shock of the traditional, you may say. Thankfully an abundance of physical comedy touches added whimsy. Also the fun translation and crisp enunciation by the cast made a good ambassador for opera in English. A particular joy was in the final act when Connolly in the guise of the maid Mariandel sounded like a Victorian street urchin, all mangled consonants and flowery slang. The orchestral playing under Edward Gardner was truly spectacular, with focus and softness at perfect balance. After all, this neoclassicising confection has always had a  hint of irony under its expensive veneer. Gardner brought out the incidental humour, cheekiness and all the bitter-sweet harmonies that Strauss endowed this most self-consciously rich score of his operatic career. We left ENO with a sense of deep satisfaction and were glad to be surrounded by a much more attentive audience than in most London venues. That kept silent throughout and generously applauded in the end. I only wish I had seen it once more.

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