Tag Archives: Royal Opera

The Violetta of Miss Pérez / Royal Opera – 6 May 2014

7 May

ROH TraviataGuilty as charged…I missed the last run of Traviata with Ailyn Pérez in 2011 and was reassured that greatness was achieved. Having seen her give her all in recitals, Turandot and Manon I didn’t hesitate to grab a ticket and be at her first night this time around. I didn’t intent to write a blog about it, but since I was totally bowled over with the central performance, here my brief account.

I can report a sensational performance built on great attention to the text taking place. She uttered every word with complete understanding of Violetta’s motives and fears. A deep sense of experience permeating every phrase. Her intense physical acting was perfectly married to some extraordinary vocal shading.

In Act Two her confrontation with Germont Père was dignified and had the requisite struggle with her self, her life choices and how polite society view her. Her Non Sapete hurled across the table at him as a protestation of defiance and hurt. She was aided by the fine acting of Simon Keenlyside who despite the fact he is missing the sheer heft of a true Verdi baritone avoided the clichés if portraying a monster and instead he was a family man blinded by his own small world to see Violetta’s raison d’être. Their confrontation was in keeping with the period aesthetic of Richard Eyre’s production but was imbued with personality and life experience. The trajectory of the character by Pérez was a complete life in 2 and a half hours. Her frivolous toasting of the ice sculpture in Act One with the resulting clinking noise causing a ripple of laughter was a great signifier of a Violetta that is playful and fun.

Her Act Two gambling scene progressing from false defiance to humiliation was beautifully acted. Her Alfredo, di questo core supported by a thin column of air the testament of a woman broken but despite it all filled with love and compassion. It was so brilliantly acted it left little doubt in our minds of her honesty. This great central performance was supported by the undeniable chemistry with Stephen Costello (it helps being married to Alfredo, obviously) his singing seemed at the start, nervous but as the night progressed kept improving. Unfortunately his acting was not as fluent and kept on seeming too stiff at times.

The Third Act was the tour de force one can hope. The logical conclusion of the trajectory of the character. The fall from grace, rejection of the church that provided succour and return to a love affair doomed by death. It was a gripping ride from her waking up in her bed to the death in Alfredo’s arms. So frequently this scene can be disappointing but her Addio del Passato was spine-tingling in its sadness, sung with huge emotional commitment and elegance. The attention to every word again to the fore. When reading Germont Père”s letter her excruciatingly dry cry emitted with her È tardi was a suitable flourish to this great performance. Worth mentioning the excellent contributions by the ROH’s young artists. Ashley Riches, Nadezhda Karyazina and David Butt Philip whose small character parts made a big impact.

As many others I have listened for years and years the incredibly exciting 1955 live recording with Maria Callas from La Scala. An archetypal example of what can be done with Verdi’s morality tale. Last night Ailyn Pérez touched the same level of greatness with a truly stunning performance.

The show on 20 May will be broadcast live online, DO NOT MISS IT! ROH Traviata List

Curtain call video

Some Tweets

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Sleepless nightmare / Turandot / Royal Opera House – 20 February 2013

23 Feb

ROH TurandotAh Turandot we meet again. I must be one of the most squeamish people when it comes to confronting most of Puccini’s output. His sentimentality and usual lack of in depth characterisation usually leave me from totally cold to in a state of fury. Attended Thursday’s performance just to see the Liù of Ailyn Pérez, after having to wait for over a year to see here again in London after her last recital it is a huge source of pleasure to have her sing Manon, Liù and Violetta in the space of a few months. The production by Andrei Serban dates back to 1984 and it was first seen in Los Angles as part of the cultural festival for the Olympics. It has all the hallmarks of an 80s production, stylisation, colour blocked costumes, affluence of unnecessary dancers and overtly detailed sets and a props. The conducting by Nicola Luisotti was precise and gave the score its expected luminosity and garish colouring. Of course what can be said about Puccini’s second take on Eastern exotica? If Madama Butterfly has a certain solemnity to it, Turandot is a confusing melange of garish Orientalist motifs and over-stretched ideas. Surely in 1924 this score must have sounded as out of date as anything written 30 years earlier. When one starts thinking what Strauss was producing at the same time it makes Puccini look like a spent force, rehashing the same old language to the same old dubious Orientalist clichés and paper thin characters.

Strauss at that point had written Salome, Elektra, Der Rosenkavalier, Ariadne auf Naxos and Die Frau ohne Schatten all rather varied and most approaching the status of a musical masterpiece, frequently with excellent libretti. The reverence for Puccini’s output is simply puzzling to me. In Turandot the main interest is the dreaded riddle scene in Act Two, what can only be described as a screaming match not akin to two washerwomen having a fight. A total vacuity of purpose and emotional content marks it as the black hole in the heart of the work. Do we really care about Turandot’s story or about Calaf’s quest…nope, I couldn’t give a toss. Both protagonists are an offensive approximation of what Eastern characters ought to be, brutal and not in any way relating to the audience. The opera is all-consumed with the otherness of the story to actually care to tell it well.

The production replaced the 1963 Cecil Beaton designed production by Sandro Sequi. The visual inspiration seems to be in equal measures the contemporary world of the Teenage Mutant Ninja Turtles (also of 1984 vintage)  and low-grade Chinese lanterns from the supermarket. The costumes being a particularly offensive aspect, being in ugly bright colour-blocked polyester are neither flattering or in any way attractive. The set is a mix of textured wood and trellis-work with some oversized garden ornaments and ritualistic objects. Clearly the brief was to create a more austere setting from Beaton’s busy production. But clearly that quest  for simplicity did not go far enough with ugly carry ons and curious masked figures showing up at any opportunity. The overall feel reminds me of the recent appalling staging of Judith Weir’s disastrous new opera Miss Fortune, which of course went one better, by including a troupe of break dancers! But the overall sinking feeling was a common factor. When Calaf strikes the giant gong that magically appears from the sky (all very post-modern, get it?) he pretends to strike it while the sound comes from the pit. Making this highly theatrical gesture into a total gimmick and a disappointing start of many more wasted grand gestures. The final parade of the lifeless body of Liù on top of a dragon shaped carriage across the stage as Turandot and Calaf finally kiss inside a garden structure is both insensitive, verging on the simplistically repugnant.

The musical side of the evening was certainly world class with excellent performances by the orchestra and the chorus. With Iréne Theorin being one of the great Turandots of our times, she lived up to the expectation with some truly sterling singing and a much more subtle take on Act Three than usual, managing to inject a dose of humanity in Puccini’s bloodless heroine. Ailyn Pérez was a meltingly beautiful Liù with any dramatic opportunities that presented themselves grabbed with both hands. She vibrated with humanity so brightly that one forgot about everything else. Matthew Rose was a very strong Timur, despite his ridiculous costuming. Alfred Kim’s Calaf was very well done but lacking individuality. The horribly cringeworthy Ping Pong Pang caricature terror trio were given excellent performances by  Grant Doyle,  David Butt Philip and  Luis Gomes, again despite the mediocrity of the sung material.

In the field of art history the nasty imperialist background of Orientalism was given a shake up decades ago, thanks to Edward Said. Such unquestioning and purely illustrative productions of Turandot are displaying an unwillingness to acknowledge the problematic subject matter and the inbuilt misogyny of this opera. In the 21st century we are meant to have more meaningful and nuanced reactions to the grubby Imperialist past of Europe and to confront the artworks that glorified it. A more searching production that dissects the patronising “otherness” of both the score and the characters has to be the only viable solution to the crowd-pleaser lollipop that this work has become.

ROH Turandot List

The Curtain call

Some tweets from the evening

Glorious mess / Carmen / Royal Opera House – 6 January 2014

8 Jan

ROH CarmenLet’s get out of the way that I fervently dislike Francesca Zambello’s Carmen for the Royal Opera, it is the usual large opera house production, all baked terracotta walls, running water and pointless appearances by animals. It has not aged very well and the obvious lack of dramatic heft in the production is either made up by excellent casts that add their own personality to it or it just ponders on as a bunch of badly reproduced postcards of Goya portraits and tonnes of oversized Seville oranges (complete with orange tree, of course). The brusqueness of her use of the chorus and the unnecessary amount of stage noise touches on the vulgar. Particularly in the prelude before the opening of Act Two, the heavy stomping (as we know, clumsy stomping translates as passion) drowned out any delicacy left of Bizet’s luminous composition.

The leading couple of Anna Caterina Antonacci and Roberto Alagna must have so many hundreds of performances under their belts making one suspicious to get a prescriptive and superficial interpretation . But on the night the chemistry between the two of them was undeniable, Antonacci looked at him, charmed, arrogant, full of pity and fearless. He looked back with devotion and charm, with a certain vulnerability and intensity that was the perfect answer to Antonacci’s deeply felt and committed performance. Every one of her recitatives had meaning, every word was enunciated with exemplary clarity and style. The most telling was her warm delivery of the habanera, an all too frequently chance for singers to hoot like cheap prostitutes, she made it a beguiling study in characterisation with just enough suggestion and sex appeal. And of course warmly inflected vocalism that was parlando enough to make every one shut up and listen. A Carmen that did not dominated the stage with crudity and noise, but with suggestion, humour and charisma. All the men on stage are meant to fall instantly in love with her but also did the audience.

Alagna may have sounded sharp at the start but he eased himself into a very generous and well acted partner to the astounding prowess of our leading lady. The finale (despite the ham-fisted direction) was incredibly tense and well acted. Not in the league of Bieito’s incredibly vivid production but a good example of two great performers that can create magic out of directorial crumbs.

Special mention has to go to the supporting cast with Ashley Riches being a playful Moralès and Veronica Cagemi who despite being miscast she made all she could of Micaëla’s challenging aria in Act Three but unfortunately almost run out of steam during her short duet with Don José soon after. Unfortunately the Escamillo of Vito Priante had a total personality bypass, giving a terribly pallid stage impression regardless of the honestly ridiculous entrance on a horse. Judging by the reactions around me everyone paid attention to the horse but not to the singer.

The conducting of Daniel Oren  was so dreadful to make one wonder why is he being repeatedly booked by Covent Garden, if he is not generic he is outright bad. The tempi in the first half were wayward and sluggish, the transitions laboured and all the spark was made into a dull semblance of Iberica.

That Antonacci manages to pull off her arias without any major incidents was down to her trying to speed up proceedings with her singing…surely a dreadful day in the office for any singer if they have to modulate the performance by dragging the conductor to follow them. Her intense gesturing during Les tringles des sistres tintaient looked almost as a desperate attempt for Oren to notice that he had singers on the stage.

The orchestra overall sounded bored and any apparent gleam from the strings had turned into a muddle. To give him a modicum of credit after the interval things sped up a notch and felt less embarrassing to be hearing their output. But one has to wonder why the management of the ROH will go and book two well known singers only to give them a hard time with such uninspired and provincial conducting, surely there are many others that could conduct a reliable and fluid version of the score out there.ROH Carmen List

Some tweets from the night

Tudorama / Gloriana / Royal Opera House – 20 June 2013

29 Jun

GlorianaIf Britten’s posthumous reputation was judged solely on Gloriana, history would have been much harsher on him.

Richard Jones turned out another hilarious evocation of a school gym/church hall where Gloriana takes place as a Tudor play. This device clearly makes a tongue in cheek commentary on the advance of the “second Elizabethan age” with the coronation of ERII and Britten’s commission tied up to a royal gala. Ingeniously his proscenium is raised and in front of the stage a nervous mayor , officials and the technical staff of the church hall are waiting for the arrival of the young Queen Elizabeth II who duly shows up at both start and end of the show.

The sets and props by Ultz are beautifully conceptualised and executed within the framework of an amateur dramatics performance. Highlights include the hilarious Tudor huts on wheels representing the medieval City of London. In the Norwich section the big display of vegetables spelling out ER is hilarious as it is quintessentially English (something about marrows and giant veg in the countryside). And of course of all the oversized furniture, King Edward’s Chair on wheels  and Elizabeth’s wreath topped dressing table should have their own postcode.
As usual with Jones consistency is underpinning everything, the bystanders on the side of the stage within a stage are looking bored stiff, a surly looking school mistress type giving joylessly cues, foley artists playing the lute for Essex’s two songs and also toll the bell for town crier.
Unfortunately the masque is terminally dull and marks a major sag in the flow of the evening. The choreography and the music are not of a very high standard (just think that John Cranko choreographed the première) also the strange decision by the Opera House to not allow an interval between Act One and Two making the audience sit through over 100 minutes tested our patience and the end of Act Two couldn’t come quickly enough.
Act Three contains Britten’s most accomplished dramatically music, with gorgeous writing for the strings and a much more elegiac attitude. The confrontation scene between her and Essex as well as the lonely finale has more than a passing resemblance to Donizetti’s Roberto Devereux. The writing as it becomes more introspective it also gains dramatic weight making for a very strong second half.
One niggle with Jones’ direction would be that he denied the work the sombre conclusion Britten clearly wanted, by adding the reappearance of the royal party and a little girl to give them flowers. An odd choice since even the programme mentions repeatedly how Britten steered his librettist to this dark and sadness filled finale underlining the fragile mental state of the queen in the prospect of her own mortality. Was he maybe intending us to read it as a reference to our current queen facing the same dilemma as Elizabeth I?

The question of how to stage a Tudor themed opera remains, Jones makes a great case for a more comedic approach but it seems to also rob the work of its solemnity. But the sleekness and imagination are admirable and the execution is beyond reproach.

Amanda Roocroft sang the part in Hamburg and can imagine was a more compelling actress on stage than Susan Bullock. Who was very dramatically involved but any high-lying passages exposed the vocal problems she has with a broad vibrato that detracted from the otherwise very sharp delivery. Her pivotal prayer in Act One was suffused with great beauty, sculpting carefully phrases, but sometimes let down by her upper register. Overall it was more of an acting triumph and a less riveting vocal performance. The tessitura is fairly low for the role but when she verged high it seemed like a struggle on opening night. There have been reports that her production has been more even in subsequent shows which is good to know.

The welcome return of Toby Spence on the Royal Opera House stage was an unqualified success after his recent treatment for thyroid cancer. His Essex was a fully formed human being with flashes of brilliance thought the evening. His two lute songs were as lyrical as they were beautifully projected and loaded with meaning. He also danced away in the ball scene with endearing ebullience.
Patricia Bardon gave such a spirited performance and her smooth comforting contralto sound was so luxurious to almost verge on the obscene. Her plea to the Queen to save Essex from execution was intense and gorgeous, her horror at seeing the Queen wearing her dress suffused with the crushed anguish of a coquette.

Kate Royal unfortunately was underpowered with a voice I have always found fairly colourless and verging on the generic. It was a cruel casting decision as she had no chance opposite Bardon. Looking pretty in a dress in not what makes an opera singer.

Brindley Sherrat was a fantastic bard managing to be intense and in as great a voice as his Creon for ENO’s Medea. Now when will the RO cast him in big roles…sick of seeing him sidetracked for dubious imports. He is the whole package and deserves to be recognised more.

Ben Bevan gave a wonderful debut performance and thus another member of the very talented Bevan opera clan has adorned Covent Garden’s stage.

The chorus and the orchestra made a passionate contribution and made as good a case for Gloriana as a musical and choral work of substance. Paul Daniel conducted the last revival for Opera North so was a very safe pair of hands and did a splendid job with good pacing and a clear sense of dramatic progression.

In the libretto Essex calls Elizabeth ‘Queen of my life’ a few times…I wonder if it was a little gay household colloquialism that crept in as a naughty addition. I couldn’t stop thinking that Britten and Pears would have been hilarious calling each other Queen on my life at home…but that’s just me and my rampant and unfounded ideas. In any case, this was a very entertaining evening despite any shortcomings that could be easily attributed to Britten being on auto pilot rushing to complete the work for its 1953 première. It was definitely worth reviving for a new generation.

A few tweets from the evening

Curtain call video

Production shots on the ROH Flickr

Gloriana list

Scotland 0 – Rossini 1 / La Donna Del Lago / Royal Opera House – 27 May 2013

2 Jun

ROH DonnaLa Donna Del Lago is the opera that comes round every couple of decades when a performer can command its staging. In the 1980s it was June Anderson who sang the role and now Joyce Didonato has been the compelling Elena of our times that has managed to sing the part since 2010 in Geneva, Paris, Milan and now good ol’ Covent Garden. This was meant to be a co-production with La Scala and the Opéra but as the artistic director of the Royal Opera deemed it a disaster area and commissioned a new production (with a limited budget) by John Fulljames. The awful chain mail costumes that weighed down the singers may have gone, but what replaced them?

Fulljames took the second default setting of a contemporary opera director, after the 1950s…to set the piece in the era it was written. Not too silly a suggestion trying to take away any medievalism left in the work and make it look more polished. The set resembling a gentlemens club covered in wood panelling and complete with four small balconies on the sides for the onstage band to play from. The lady of the lake becomes an object of posh scientific fascination as Edinburgh’s high society (the chorus) dressed in tails and top hats peruse her in a glass case accompanied by cases containing a model boat and another one with the regalia of Scotland. And then the naffest thing happens since the invention of time travelling productions…Walter Scott and Rossini show up on stage and remain on for the duration.

Repurposing the parts of Albina as Rossini and Serano as Walter Scott did not propel much the story it just seemed to have been his way to demonstrate he really had a solid concept behind the show. The main irritation from having Rosini and Scott on stage was their use as decorative additions in the extremities of the stage pictures adding very little interest and mainly spending the evening opening the panelling centre stage to reveal the revolving staircase that stood in for Elena’s house. And later on, the king’s palace. It is never made clear how the scientific specimen of La Donna gets reanimated, was this some secret knowledge society that had cryogenically preserved her, only to wake her up or were we just seeing a miracle making our leading lady mobile and singing? If you want to propose a thesis about the work’s very nature better work out the transitions in a smoother fashion.

Having a performer of Joyce DiDonato’s calibre treated like the famous singing fish must be immensely frustrating for such a physical actress. Thankfully when she comes out of the dreaded case she inhabited the role with such depth of feeling and ownership it was simply ravishing. The second victim of this production was Daniela Barcellona who was costumed in the frumpiest travesti way possible…ill fitting costume, ugly make up, terrible wig. If we need to be convinced she is a man there are simpler more elegant ways to achieve it. Thankfully a truly spectacular singer like her sang through this crap to deliver round tone, killer chest register and staggering volume alongside her measured acting.

Colin Lee was turned into a ridiculous comic book character complete with silly wig and costumed for a provincial production of Norma. All of his warriors were equally ridiculously costumed to drive home the obvious distinction between the townies and the highlanders, it was simplistic as it was crude. Flórez clearly must be good at saying no to the wig department as he was wearing his own hair and looked all the better for it. Mind you he was not spared a comically oversized crown that wouldn’t look out of place as a stripper’s prop and of course the final appearance as the king with acres of imitated ermine and bright tartan making him look like a cushion ready to match the curtains of the palace. His singing was unfailingly elegant but somehow he was outshone by most of his co-stars, notably Colin Lee who was much louder and much more attractively voiced on the night.

The one moment in the first Act I lost total faith in the direction (aside from the inexplicable reanimation of the cased heroine) was the dreadful rape scene which was a largely pointless addition and made no sense in 2013 where we do not need to see sexual violence portrayed as entertainment especially when the story does not need such diversions. It felt gratuitous and the deafening silence in the auditorium signified that I was not the only one to be appalled by this thoughtless addition. Fulljames deserves the scorn he receives on this aspect as it was utterly indefensible.

The chorus delivered some top class singing with very impressive volume and well drilled choreography. A show like this makes a big asset of the chorus and creates the only ebb and flow in a rather tension-free Rosinian romp. So credit to them and the chorus master for adding excitement and fabulous support to the soloists. The orchestra put in some juicy playing despite the very stop/start conducting for my liking. Mariotti must have ironed out a lot of problems that were reported from earlier in the run but somehow he doesn’t seem to grasp the ideal of a sinuous bel canto line for the singers and the orchestra.

If you read my ramblings from time to time you will know by now how much I enjoy Joyce DiDonato’s singing, She may not have the most colourful, most enchanting instrument on the planet but her deployment of her gift is so generous and exciting it is impossible not to be won over. The way she floated Rossini’s high lying phrases all night with such robust support was the stuff of legends.

Her command of the stage was magisterial and the final 20 minutes possibly amongst the best live singing I have heard in my life so far. From when she utters Tanti Affeti in the most delicious hushed pianissimo to the final felicità she gave an unrivaled lesson on elegant use of legato for expressive means, sheer glamour and utter triumph at the top of the cabaletta. A more exuberant expression of on stage happiness is surely difficult to come by.

This opera may not be even in my top 20 operas but a stunning performance of such virtuosity elevates it to an evening never to be forgotten. Yes everyone, I am as smitten with Joyce as I have ever been and cannot wait to see her repeat this magic on the last show on the 11th of June. The performance of the 27th was streamed live in cinemas so expect it in your Christmas stocking for 2014 in Blu-ray and DVD…it will be worth the wait. An additional joy was that Janet Baker was in the audience and congratulated Joyce after the curtain fell.

Some tweets from the evening

ROH Donna List

Shoot the doppelgänger / Eugene Onegin / Royal Opera House – 11 February 2013

15 Feb

ROH OneginIt was a catalogue of misfortunes that added to an overall uneven and at times unjustifiably flat performance of Yevgeny Onegin (the Royal Opera not too keen to use that title it seems). The non operational surtitles during the first half was not the best advert for the ROH but surely they have well practised tannoy apologies and they delivered it twice to the amusement of everyone occupying the cheap seats. Glad to report a pensioner’s riot and occupation of the Amphitheatre was averted at the last minute and a few photocopies of the synopsis later.

Let me start from the positives, the set and costumes were rather elegant. The set comprises a four doored frontage is turn of the century plasterwork and mouldings. All in an off white colour heavily influenced by Vilhelm Hammershøi‘s melancholic interiors and the backdrops behind were modelled on Gerhard Richter‘s painfully beautiful and trendy abstracted photorealism rendered in video animation. Visually it was a potent mix that had an equal amount of suggestion and representation. The respectively red and blue palette used for Tatyana and Yevgeny creating a stark contrast against the rest of the colour choices (pistachio for Olga, beige and powder blue for Lensky, black for the chorus) and making them pop. The set was particularly successful as a setting when the doors closed and the front of the stage became surprisingly intimate. But somehow the parallel nature of the set made it look like something designed for Holten’s previous employer, the Royal Danish Opera, where they do scene changes by moving sets sideways. Spent most of the evening expecting the set to slide sideways, but to no avail since the ROH does not have such a facility the set stayed put. With Madame Larina’s ballroom looking as wide as a goods lift it barely inspired. Things did get better in the last act when Prince Gremin’s ballroom extended to a further room doubling the space and the perspectival play was very effective coupled with some well done choreography.

Unfortunately the orchestra under Robin Ticciati did not seem to find its way through the lyrical score, with notable lack of balance at times and off pacing. Particularly the letter scene and the finale stood out too much with the orchestra playing too loudly and in total contrast to the earlier slack tempi that sent many a pensioner to sleep.

The insurmountable obstacle that stops me from loving this interpretation is Holten’s use of doppelgänger dancers of their young selves  idea for Tatyana and Yevgeny, it is both inconsistent (they only appear in a handful of scenes) and it is distracting that the singers acknowledge their presence. Had they been treated as memories and thus remained untouchable it may have worked. In this case it seemed like the director lost confidence in the singers to express emotion through their acting and needed the use of two dancers to mime instead. Another thought that passed my mind was the possibility that the Director walked into the rehearsal room and thought ‘oh my, they both look too old for the characters’ and brought in the dancers to embody them in Act One.

The doppelgänger idea falls totally flat in the letter scene where Stoyanova is left just pacing on the stage while the “young Tatyana” rithed and contorted her way, draped herself on the chair and just sucked out the oxygen from such an accomplished singer, especially when she sang with such assurance and feeling.

Another terrible example was the duel between Lensky and Yevgeny, with the dancer getting possession of the gun while Keenlyside looks on and mirrors his movements pointlessly. The apogee of this emptiness in the staging comes when the dancer actually pulls the trigger. It saps all the energy from this macho confrontation scene and renders it weak and almost incidental. You can imagine what must be going through Keenlyside’s head when he is being marginalised to such a degree during such a crucial scene. He did do his best but unfortunately I paid more attention to the branch that Breslik carried in for the duel, than the singers.

Overall the singing was from very good to excellent, Keenlyside admittedly took a while to warm up but he was absolutely wonderful in the last Act. Stoyanova was wonderfully warm and paid unique attention to the libretto, also moved with elegance and when left to act (like in the last scene, where the doppelgänger has gone) she was captivating to watch. Peter Rose’s Gremin was as imperious as one would expect but also brought a vulnerability that made him much more believable than usual. Diana Montague, always a classy singer, delivered stage charisma in spades in the largely thankless role of Madame Larina. The audience’s favourite was Pavol Breslik who did sing with vim and longing and we all felt sorry for having to endure being dead on the ground for the last forty or so minutes. A ludicrous directorial decision that again added very little to the story and just made it much more difficult for him and his colleagues, who had to avoid stepping on him on a number of occasions. To be honest none of the clutter that made the front of the stage, from Tatyana’s strewn books to the harvested bunches of wheat, to the dead body ever got cleared. It was another comment on memory, but my goodness it made for sloppy looking staging and was rather too obvious.

It is beyond me why directors find Onegin such a fertile ground for silly experiments. Tchaikovsky’s opera couldn’t be more straightforward and the fact he entrusted its première to the students of the Conservatoire in Moscow makes that evident. I presume Holten thinks he has added another layer of interpretation, with his direction focusing on the nature of memory and looking back in retrospect with regret. Unfortunately in this case all he added was a distancing device that told us surprisingly little that is not already in the score. Seeing it two days after Konwitschny’s  Traviata and after the very successful Opera Holland Park production last summer it proved to be an evening of style over substance. This production did not seem to be happy to either go avant garde and offer a different concept or to be traditional. It occupied a middle ground that was neither very interesting or to the benefit of the material.

ROH Onegin list

 

Robert le terrible / Robert Le Diable / Royal Opera House – 9 December 2012

15 Dec

ROH Robert Le DiableWhen asked about redeeming features by my partner I was very short on examples. Meyerbeer’s score is eventful put inarticulate and at times inappropriate. But the major culprit of making this a dour night out is Laurent Pelly, a director very close to my heart. But this time he has seriously misjudged the mood and setting. Betraying both the source material and making it a slog for audience and singers.

The reputation of Meyerbeer’s music is for bombastic nonsense and a few well crafted arias. What I did not expect was the lack of any dramatic quality or theatrical value in this score, not helped by a meandering plot and a libretto that is a mess. Even the translation caused the odd unintended giggle. Robert’s question to Bertram (referring to the just departed Alice) ‘What has come all over her’ was one such cringeworthy moment. An indicator how far down the pantomime route this staging has taken the work.
Meyerbeer did compose Robert as a three act comic opera and had to modify it into a five act spectacular with ballet to fulfil the requirements of the Paris Opéra. And listening to the music the constant change of mood and tone creates the impression that this was a work written by committee, such is the disparity of the  constituent parts that any semblance of integration is woefully absent. One moment we have a seriously bombastic trombone laden intro to the scene between Bertram and Robert with a few sharp exchanges taking place and out of a sudden a break appears in the form of a harp solo, stopping the action on its tracks and just making for a rude interruption. That was one such strange jolt in the plot that takes many more forms throughout the 4 1/2 hours of its duration.
A more sensitive director would have created a more integrated spectacle to counter-balance the plot and patchy music. But Pelly in his near pantomime parody of the opera accentuates all the worst aspects of the composition, from the chorus swaying in tune to the music to the excessive placement of singers on the proscenium and making them sing straight to the audience.

Another aggravating factor of the production was the low quality of the stagecraft, sets being used badly and disappear clumsily. The stage hands being noisy and actually heard very clearly shouting at each other, behind the curtain, during the overture. Seeing hands moving the silly castle in Act Two was a particular low, alongside Alice being wheeled from side stage left on engraved clouds on wheels in Act Five. Allowing a large quantity of confetti from the end of Act Four to occupy the foreground of Act Five was both unsightly and an indication of negligent clean up during set changes. May seem minor but it was an indication of sloppy staging.

The two sets that really worked beautifully were the beguiling mountainous construction in Act Three taking the engraved look to an apogee and using the height of the stage to its advantage. But shamefully let down by the silly pantomime acting which robbed any sense of gravitas. And the set for the notorious nun ballet at the second half of Act Three was the most beautiful gothick construction, the incline adding a great perspective. The rust colour of the rails and the dark stone and greys throughout were a moody addition. Now if only the ballet and the acting overall was more convincing this could have been a heart stopping scene. Obviously the music does not help, when it turns into the most generic music to hop to since Adolphe Adam’s near contemporary La Fille du Danube. But again this lack of cohesion and episodic nature of this scene betrays the revisions made when it was reworked in collaboration with Filippo Taglioni for his super star ballerina daughter Marie. Mayerbeer extended the ballet for the first staging in Berlin and I wonder if the rather conventional and unimaginative middle part of it came from that time.

In Act Four, once more the white lego castle appeared, with quite a few stage hands visible…not inspiring confidence and we got confetti to tie together the wedding theme. Thank heavens for Ciofi’s beautiful rendition of Robert, toi que j’aime which was technically near flawless but somehow lacking in emotion, not helped by the cartoony throne and ridiculous surroundings. But at least the Act was topped by the hilariously hammy breaking of the branch by Robert (the one  he stole from the cloister of St Rosalia). At this point I had lost the will to laugh and all I could muster was just a slow head shake.

Act Five was the time for the build your own church template set. If that was meant to be a stand in for Palermo Cathedral it was both a poor idea and rather cheap looking. The Palace of Palermo as seen previously and it’s distinct papery texture was the lap of luxury in comparison. So a lot of people walked in and out of this church structure made out of white icing (ok almost). Nothing of much consequence happened, despite the fact Robert at last learns that Bertram is the devil and we got some pantomime green lighting showing evident fury…as Hymel’s face had a fixed mad look. But then we have the main (very thin) plot mechanism unfold at last…Robert gets given his mother’s will from Alice (and with Poplavskaya sounding quite hoarse by that point) it was a panto scene too far. The way Bertram gets swallowed by a monstrous face at stage right is so ridiculous to be risible but then Pelly adds the final touch with him before curtain fall walking across the stage with his suitcases.

Overall the performance of the orchestra under Daniel Oren was disappointing. The fervour was missing and his cautious reading failed to ignite the more bright parts of the score.
Brian Hymel as Robert sounded stretched to the absolute max while navigating a maze of high Cs and the odd D. The part alongside  the one of Isabelle is written in a very idiosyncratic way with very little relation to the rest of the vocal scoring. As Meyerbeer did customise the parts to the famous singers that were asked to sing those parts at the Paris Opéra. Hymel’s voice seemed at odds with the highly lyrical melodic material and despite his heroic struggle the voice took an ugly cast from all the extra effort involved.

Patrizia Ciofi was a good vocal match and delivered her arias with stellar results but remained definitely forgettable after the curtain fell. Her stage presence seems to me to lack any memorable features. She shows up, sings beautifully and not much else. The dramatic investment was just not there. My highlight was her tender rendition of En vain j’espère in Act Two which was unfortunately undermined by being acted for laughs. Maybe replacing Jennifer Rowley four days before the première was not such a great idea.

John Relyea was vocally strong and consistent if not terribly sophisticated. His greatest achievement being his aria and resulting duet with Alice in Act Three where he was allowed to show his dark side by the direction. But somehow his singing through the rest of the show seemed more coaxed out than released with relish and menace.

Marina Poplavskaya on the other hand was a really good fit for the part of Alice. Her at time astringent tone fits well with the material and she sang very well despite having obvious vocal problems caused by a reported cold. In Act Three her Quand je quittai la Normandie had the seed of a great performance but unfortunately her cold led to considerable scoops to the note and a major crack in a fully throated C. In full health I can imagine she would be immensely enjoyable.

The smaller parts were very well performed with a particular highlight the debut of Jean-Francois Borras who had huge amounts of fun being Raimbaut and had the unforced native sound that Hymel or Relyea ultimately lacked. Lets hope we get to see him again at the ROH soon.

As you can tell everyone, this evening at the Royal Opera House was arduous and with very little returns. I had to get rid of my Orchestra Stalls tickets and saved myself a serious amount of money and the aggravation of seeing this seriously off putting production. Maybe a less tongue in cheek production would accentuate the positive aspects of the work but I am afraid Pelly’s dead comic hand gave us an evening verging on the tragicomical. 

It was utterly disappointing and possibly the last time any of Meyerbeer’s music will see that particular stage for years to come. Robert Le Diable’s position as a historic curio remains. It is being broadcast on BBC Radio 3 and also will be released as a DVD/Bluray in 2013, so hopefully you will have the chance to examine closely this production.

ROH Robert Le Diable list

[youtube http://youtu.be/NbdVJilEKvM]

Get on the Robert Le Diable casting travelator…

3 Dec

DiableIt doesn’t happen too frequently but Robert Le Diable at the Royal Opera is one of the most unstable productions this side of the famous spat between Cecilia Bartoli and Jonathan Miller .

The original cast boasted Juan Diego Florez and Diana Damrau. JDF abandoned ship early on and then the delightful Diana decided motherhood was above any aspiration to sing a rare French opera.

Then Bryan Hymmel was booked to be Robert, judging on the back of his summer Énée he will delight.

Things got promising again by announcing the replacement of Diana Damrau by Jennifer Rowley, a promising young singer who had a breakthrough triumph in New York City Opera’s Orfeo early this year. She was auditioned for the part and the powers that be clearly thought she was up to the standard. It was one of those exciting occurrences that can make a young singer’s career. But it seems it was not meant to be.

Earlier today the ROH announced that J Rowley would be replaced by Patrizia Ciofi and Sofia Fomina dashing the hopes of all of us that looked forward to the debut performances by Rowley. Their release does go to lengths to point out that the management of the Royal Opera are behind the singer and indirectly pointing the finger to external forces (director and/or conductor). It seems internal politics won over and the audiences who looked forward to the production have another reason to be uneasy at curtain up on Thursday. After all we’ve already had the near farcical walkout by Marina Poplavskaya who actually returned a week later!

Despite the Royal Opera claiming to be a world opera house and Kasper Holten making too frequent references to it, still seems to be behaving in the most unprofessional manner to singers it engages and causes huge embarrassment to artists that evidently have done nothing wrong. But find themselves being replaced four days before the premiere. We can all imagine how devastating it must be to have gone through the whole rehearsal period and then to be asked not to perform. It seems ridiculous that the RO will allow external forces to alter the casting so close to the opening night and more akin to the way a village hall is run. The management for all their support they have shown to the cast, they were proven spineless against the whims of the production team. Still looking forward to seeing it, but with a much heavier heart.

Lets hope the rumoured involvement of Rowley with next season’s Les Vêpres Siciliennes alongside Erwin Schrott and Directed by Stefan Herheim, will come to fruition.

Update————————

It seems the press office of the ROH has been active disseminating vox pops by Laurent Pelly to various media outlets, exclaiming how perfect Patrizia Ciofi is as Isabelle making this sad story even worse. Arts correspondents being the usual obedient types, of course did not ask for any statement by Daniel Oren…he’s only the conductor, why should he be consulted on musical matters? Are we to believe this was a decision taken by Pelly? It is ludicrous as it is unprofessional and downright shabby the way the Royal Opera has behaved trying to calm down the furore over this affair.  

Of course I make the presumption that the casting director, music director and Jennifer Rowley’s agent did their job in the first place.  But I’ll go out on limp and say that I’d rather see a whole lot less of Daniel Oren at Covent Garden. Maybe it’s time he was told that he’s not irreplaceable either.

What did Kasper say? / In Conversation / Clore Studio, Royal Opera House – 12 October 2012

13 Oct

Usually I couldn’t care for the over-priced insight events at the Royal Opera but this time having the chance to see what the fairly interview shy new Director of Opera had to say about his first year at Covent Garden was alluring. I can happily report that it was worth it, read on if you want to know what was said.

From the outset his enthusiasm for opera and directing was evident. He talked about his childhood and how initially he got hooked on it by going to a visit with a tutor at age 9 to see Carmen. He recalled how he was blown away by the experience. A particularly funny episode was his retelling of organising a Ring cycle from the age of 13-16 in a LEGO constructed theatre, making the whole family watch it. He even managed to write a letter to the director of the opera house and the minister of culture to ask why one had to be 18 in order to take advantage of the young people discount scheme. They changed the policy so the precocious 13 year old Kasper could buy cheaper tickets with his pocket money.

The talk was indispersed with three excerpts from his productions in Copenhagen of The Ring, Nielsen’s Maskarade and Die tote Stadt.

Edward Seckerson asked him about the tension between being a creative force and having to do a lot of admin as part of his job at Covent Garden. Holten mused that his life has possibly come full circle as he comes from a family of financiers (his mother having been the Governor of the Bank of Denmark) he was expecting to go into banking but instead chose the life in the theatre. He seemed to be very pragmatic that the two productions a year that he is allowed by his contract to direct have an impact on his deputy and PA but it seems he would not want a job that would not allow him to direct in House and out.

He was asked whether he would compromise rehearsal time in order to accommodate big stars like Kaufmann.  His response was a bit roundabout, bordering on the meandering but he seemed unhappy to create a precedent by allowing big names to show up a couple of weeks before a show starts. He did make the distinction between singers that grow in rehearsal and others who do not find it as stimulating. But he mentioned that the camaraderie that develops during a full rehearsal period is an essential part of the mix for an as good a performance as possible. But he concluded that some smart administrative decisions could see them programme big names for productions that don’t need a lengthy period of rehearsals.

On the subject of commissioning new work and allowing the national composers emerge, in the mould of Poul Ruders in Copenhagen where three operas where staged (most notably A Handmaid’s Tale). He went to great lengths to point out that for him Covent Garden is not a national opera house but an international one and even though Thomas Adès is writing a new work for the main stage he wants composers from all over the world to have an equal chance to stage a major project with the Royal Opera. He did mention the great work ENO does with new music and commissions. He went to lengths to point out that the House would not be the right place for a young composer to write their first opera (he quipped that the first one is usually not very good) he wanted composers with a developed voice and some stage experience.

On the subject of modern/traditional productions he thought the distinction was redundant and that he had directed in both idioms, led by the work itself. He was warned that London audiences are too conservative and would not accept modern productions and he responded that in his experience the audience is discerning but expects good storytelling/a clear narrative. As he exclaimed this is after all the country of Shakespeare and BBC drama. He wants opera to be relevant (not in a jeans and trainers way) but to talk about life as it is. Emphasising that the companies have to believe in the greatness of the material and the extraordinary nature of the artistry required to promote the art form.  He contemned Regietheater as a creative dead and ridden with clichés (to the chagrin of the rather elderly audience). The conversation wandered to Stefan Herheim and he confirmed that his predecessor had engaged him for the 2013 season for a Verdi opera (the rumours suggest Les Vespres Siciliennes), he expressed his admiration for him and his very physical, dramatic productions. He also made a point about La Donna del Lago that he scrapped the Lluis Pasqual directed co-produced production with La Scala and the Opéra when he realised that it was not a good one. And he said that such a great cast (Didonato/Flórez/Barcellona) deserved a new production and he’d rather spend the small budget on it than spend it on promoting a production that was fundamentally unsuitable for the piece (we all remember the ludicrous chain mail costumes). Boasting that his upcoming Onegin and DDL had the smaller budgets in Royal Opera’s history but hoping they would not seem cheap to the audiences.

On the subject of the cinema broadcasts and live online relays (prompted by two audience members questions) he mentioned how he originally (when the Met HD series started) did not believe that opera in the cinema would work but was happy to be proven wrong. He said that it was imperative for the Royal Opera and the Royal Ballet to have a worldwide presence in cinemas and that wherever possible they would like to challenge the exclusivity on venues by the Met. As for online streaming he thought the costs involved are prohibitive due to the low levels of public subsidy (in comparison to Central Europe), but he’s hoping to work more with The Space like they did for Les Troyens.

He mentioned that a major part of his decision to move to Covent Garden was working with maestro Pappano, who he thought had the most incredible curiosity and musicality, making him possibly the best musical director in any of the major opera houses. He also made clear that for him a sense of personality in the programming was important despite the fact that is not always possible due to casting restrictions. Exclaimed how courage was very important and not playing it safe all the time, offering as an example his work on staging Karol Szymanowski’s King Roger in the coming seasons. Also defended the long runs of “classics” like Traviata, Tosca and Bohème as a good way to bring new audiences in. Quoting that 30% of the audience for La Traviata were new to the House.

He kept on repeating how important it was for him to have more affordable tickets and how aware he was that the audience in the House is not as representative of London’s overall diversity and vitality. Also seemed to be keenly aware that the online presence and booking system of the ROH still needs work but he was confident the investment would pay off.

The Baroque question

Unfortunately I did not get the chance to ask my main question of their deplorable use of their young artists or about the significant lack of British talent for the juiciest parts, but instead managed to approach him after the talk to enquire about the lack of baroque opera from the main stage.

His response was that he was aware of that gap and he had conversations with the rest of the management but was worried that maybe the auditorium is too big for a satisfactory experience. Mentioning  that ENO and Glyndebourne having a great record at presenting this repertoire in the UK. When I responded with how extraordinary was Niobe Regina di Tebe and if he had the chance to see it. He responded that he hadn’t experienced it for himself but was aware it had troubles selling tickets and that any such projects will need a period instrument specialist orchestra. So in other ways it means that Covent Garden in its current state will not produce any more baroque opera for the Main Stage, which is deeply regrettable in my view. Had I  had the time I would have mentioned the obvious flaws of his thinking around baroque, as the ENO has a larger auditorium than the ROH and also they use their in house orchestra with mainly modern instruments as do the other regional companies.

Overall what came through from the talk was his vibrancy and will to succeed in the role but also a keen sense to be realistic about what can be achieved at the Royal Opera. Left me feeling positive about the future of the House and its programming despite its obvious lack of will to stage baroque, the very starting point of the illustrious art it promotes.

Some excerpts from the talk will be circulated by the Royal Opera in the coming weeks will try to link to them here so you get a more direct sense of the talk.

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.

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