I had expected to hate it. The way it was described conjured up the Royal Opera’s truly horrendous production of Rusalka, or the dull and pretentious Idomeneo. Both of those were in a league apart in terms of clumsy over-conceptual plot-handling and poor visuals. The atmosphere of Tell was well-established by the mud floor and general air of bleak oppression (however difficult it is to project a voice over so unreverberant a surface). On the night I had placed it in that miserable indefinably-somewhere-between-50s-and-70s period, but in fact it was set around World War 1, so my programme tells me. Chairs in abundance, against which much violence was wrought. Visible, hung strip-lighting as well. Baddies in combats wielding guns. It was not entirely cliché-free. (more…)
It’s been a hectic old time the last few weeks, so capturing thoughts on performances has rather got forgotten. They’ve been a diverse bunch as well.
So, in brief: (more…)
Last weekend was spent amidst the overwhelmingly abundant delights of Rome. Quite why I’m now, on my return, a bit worn out may be explained by the amount that we packed in to four days: Pantheon, Colosseum, Forum, Palatine, Castel Sant’Angelo, St Peter’s, Vatican Museum, Galleria Borghese, San Clemente, numerous smaller churches and a good deal of wandering around the streets of this fascinating city. Unsurprisingly, I’m still digesting it.
Sadly, there was nothing on at the Teatro dell’Opera to coincide with our visit, but we did get along to two musical events: one planned, the other impromptu. We had prebooked a concert by the Orchestra dell’Accademia Nazionale di Santa Cecilia in their newer home at the Parco della Musica at the north side of central Rome. And then, in our hotel, we picked up a leaflet for a ‘dinner-and-show’ package featuring La Traviata. Being at an otherwise loose end, we thought ‘why not?’ and booked it; it turned out to be surprisingly good. (more…)
I have just returned from New York, a trip that was based around celebrating a ‘significant’ birthday. During the 8-day stay, we took in five operas at the Metropolitan Opera House and, since I didn’t take a laptop with me, one post-trip round-up will capture thoughts on them all.
Overall, it was great to ‘live’ a different operatic experience for a week: everything about the Met is gargantuan, including (to be blunt) its own sense of self and the resulting hyperbole. In contrast, those fellow audience members with whom we chatted were reassuringly down-to-earth, and we had some great discussions, comparing notes on singers and performances across the Atlantic. And yet, from the security guards, to the rather prickly (and not particularly well-informed) backstage tour guide, to the social conventions around the front of house, it is all just slightly starchy when compared, dare I say it, to Covent Garden: more emphasis on a ‘sense of occasion’ than a night in the theatre, perhaps. Maybe it’s the shades of all those Rockerfellers, Astors and Vanederbilts etched into the marble foyer. (more…)
John Fulljames’ new production of La Donna del Lago by Rossini opened last night at Covent Garden. The piece itself is based on a narrative poem of 1810 by Walter Scott, which took only 9 years to make it into operatic form, with La Donna premiering in Naples in 1819. This gives some sense of the popularity, not only of Scott himself, but the general themes of Scott’s work that chimed so well with the Romantic appetites of the contemporary audiences: real characters, perhaps a bit of supernatural intervention, brooding landscapes, the odd Gothic ruin. The production’s muse, if I’ve read it correctly, is the early 19th Century creation of the ‘myth of Scotland’, which was entirely entwined with these themes of the Romantic movement, and amongst whose proponents Scott sits pre-eminent. The first act was a little opaque, but it came together nicely at the end. (more…)
I just don’t seem to have the time, or perhaps it’s the energy, to keep on top of jottings about things I’ve seen. So, one concert and one cinema screening… (more…)
Notes and half-formed thoughts on three performances from the closing weeks of the Royal Opera season are still hanging around, not set down for posterity. Since posterity likes completeness (not that it ever gets it), I’d better crack on. (more…)