Category Archives: Opera

La Boheme – Royal Opera House – Review

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ROH La Boheme

I’ve had tickets booked for this since July. I’d chosen this wintry opera as my festive theatrical viewing this year.  It’s a score that I’m familiar with in parts but I’ve never seen it all the way through.

Opera is often a spectacular form of theatre, lavish sets, huge casts makes for a larger than life experience, however La Boheme is a much more intimate opera, and for me that was its real strength, it draws you into the lives of its protagonists Rodolfo and Mimi without any superfluous scenes or characters. This is why I think it is so effective emotionally as a piece too. There was not a dry eye in the house at the end, one person near us was actually sobbing at the end they were so moved.

Puccini’s score melodiously moves us along, and feels very much a complete score, some opera’s can feel quite disjointed musically, La Boheme, just flows through the entire length of the opera.

I was genuinely excited to see Mark Elder conducting the Royal Opera House Orchestra, as I ‘ve said before they are my favourite orchestra. Mark Elder in the recent  TV show Maestro used the Act II scene from La Boheme as one of the challenges for the celebrity conductors. It really is an amazing piece of opera with a huge amount of action happening on stage, Mark Elder at the baton, kept what could become a chaotic scene in harmonious order.

The multitasking Act II

The multitasking Act II

Rolando Villazon as Rodolfo was the highlight for me, I’m getting to the position now where I’ve seen enough opera to be able to compare and contrast productions and performers. Rolando Villazon’s performance is one of the best I’ve seen, what a voice. Puccini’s score gives him a chance to really show us the depth of feeling and power his voice has, an amazing performance, I’ll definitely make sure I see him in a future production at the Royal Opera House.

Rolando Villazon and Maija Kovalevska as Rodolfo and Mimi.

Rolando Villazon and Maija Kovalevska as Rodolfo and Mimi.

Maija Kovalevska as Mimi, moved us, her beautiful voice touched us all. As I said, people were in tears at the end and that is due to the fact she connected with us all. The chemistry between her and Rodolfo was just right.

Audun Iversen and Stefania Dovhan as tempestuous couple Marcello and Musetta, gave a great foil to Mimi and Rodolfo, comedic when needed and fiery, flirtatious lovers the rest of the time. Musetta’s seduction scene in Act II was great fun.

Stefania Dovhan as Musetta and Audun Iversen as Marcello

Stefania Dovhan as Musetta and Audun Iversen as Marcello

Act III’s wintry snow scene was a special moment for me,  but the final Act as I said moved me in a way few pieces of theatre have.

This has been one of the theatrical highs for 2012 for me, Puccini’s score is stunning, but I found it refreshing to be at an opera which spoke to the heart, engaged with our emotions and was about the characters on stage. Director John Copley is to be congratulated for chosing to focus on the heart of the piece and allowing us to be drawn into this tragically moving piece of theatre.

STARS : * * * * (and a half)

Carousel – Opera North at the London Barbican Theatre

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After my taster last week, I got to see the full production of Opera North’s version of Rodgers and Hammerstein’s Carousel. As I mentioned in that post, I knew several of the tunes but had never seen the show or the film version. Was it to be a musical that should be consigned as a period piece or would it still be relevant to the 21st Century?

Having done some research prior to seeing the show, my interest was piqued by other critics and writers saying how they felt this was an opera rather than a musical. I was also intrigued as several friends had rather disparaging remarks to make about the show in the versions they’ve seen over the years. Would I be enamoured, pleased to have seen it but not crazy about it, or regretting I’d made the journey to the Barbican?

The Royal Ballet Sinfonia were in the orchestra pit accompanying and their exquisite playing set the scene as it starts with a wonderful balletic opening where we are introduced to the world of Carousel and its protagonist Billy Bigelow. The eponymous carousel is cleverly created before us and this spectacular opening captivated me into this world.

The Cleverly Created Carousel

This show also has another “wow factor” and that’s the size of the cast, it is huge! I really felt Opera North were pulling out all the stops to make this production feel definitive. It certainly helps to create the operatic feel to the piece.

Michael Todd Simpson was Billy Bigelow and he really gave this character light and darkness. I’m still not sure what to make of this character, is he just a thug, or is he a product of his circumstances? His journey to redemption is certainly bumpy and laden with pitfalls. Is the physical violence he issues an allegory for the way we often inflict hurt on those we love the most? I felt he was portrayed as a broken man and felt sympathy for him, despite his foolish actions. Rarely does a musical or opera get me pondering and thinking about it as much as this has. The domestic violence is not a comfortable issue to be confronted with.

Katherine Manley as his long-suffering wife Julie gave her character an inner resolve and strength which I think complemented Billy’s aggression. Hers is a tragic character but I never sensed hopelessness in her.

Sarah Tynan gave an uplifting performance as Carrie Pipperidge the friend and confidant of Julie and even though their lives go on different trajectories their friendship continues.

Joseph Shovelton was the comic relief in Enoch Snow, but again this character has hidden depths and is a necessary contrast to Billy.

Their voices were superb and it was lovely to hear a cast fill the theatre with no need for amplification.

Act 2 contains a beautiful ballet piece stunningly performed by Beverly Grant and Simon Jaymes.

So as you may well ascertain, I loved it. I really think it does deserve the title of “classic”, I found the story dramatically engaging, the score is beautiful and the way it combines, opera, ballet and musical theatre really makes it a special production.

It’s best known for the anthemic song You’ll Never Walk Alone, and obviously that song has much emotional baggage for many, but as the cast sing it at the end, I couldn’t help but get an emotional tingle down my spine as it brings this story to its conclusion. It was one of those moments in theatre that I know I’ll remember for a long time.

It’s only on for a short run in London, again we’re being shown that London is not the only place where theatre is creatively being made in the UK. If you’ve never seen Carousel, go and catch this production, the director Jo Davies is to be congratulated as I can’t imagine it being done any better.

STARS : * * * *

Backstage at the Barbican

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The Barbican, in The City of London, serves as a reminder of how it wasn’t just the Soviets that built concrete monstrosities during the Cold War. Each time I revisit it thought I grow a bit fonder of it. However what happens inside is more important and it is a major location artistically in the Capital.

An added bonus is all the Jame Bond memorabilia that is inside at the moment, due to the Designing 007, Fifty Years of Bond Style exhibition that is taking place there at the moment. I’ll certainly try to head back to catch that (it’s on until 5th Sept) and partake of a Vodka Martini, shaken not stirred in the Martini Bar there too.

Knew I’d left my car somewhere, glad Mi6 have their top man looking after it for me.

Last night however I got to go behind the scenes of the Barbican theatre, seeing the props and set and then I sat back and saw the cast rehearse Opera North’s production of Carousel ahead of it opening next week on the 15th August. The cast involves children and so this adds the complication of having two sets of children (as there are limits as to how long children can work), so everything has to be rehearsed at least twice with each set of the children. I love seeing all the elements and people who make a show come together, so it was terrific to see the vast number involved in this piece beavering away.

Opera North’s production of Rodgers and Hammerstein’s Carousel
Gillene Herbert as Julie Jordan (right)
Conductor James Holmes, Director Jo Davies, Set and Costume Designer Anthony Ward, Lighting Designer Bruno Poet, Choreographer Kay Shepherd, Choreographer (ballet) Kim Brandstrup, Video Designer Andrzej Goulding.
Photo credit: Alastair Muir

This production of Carousel has received rave reviews and I was given a great taste of the opening of Act 2 last night. I know a few of the songs of Carousel but I’ve never actually seen it either at the theatre or its film incarnation. So I’m genuinely excited about finally getting to see this classic and on deciding whether I feel it deserves that moniker.

I also got to meet Joe Shovelton who plays Enoch and Tim Burke who is the chorus master. They clearly have a passion for this production and were pleased to be brining it to the capital. It will be interesting to see how it is received by the Barbican audiences.

My review will be published after seeing the full show next week.

“Wine and Women are the Glory of the World” – Don Giovanni – Royal Opera House – Review

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My opera education continued this weekend with a visit to see Don Giovanni. The tickets were bought as a present for my wife at xmas, she asked if I knew what Don Giovanni was about, “no” I sheepishly replied. A wry smile appeared on her lips and she explained. I’m glad I’d not got them as a Valentines present!

We follow Don Giovanni during a 24 hour period as he seduces his way through several women (adding to his considerable lists which he keeps in numerous notebooks, over 1000 sexual conquests in Spain alone!). One of the women happens to be a bride on her wedding day, the bridegroom is not too happy about this as you can imagine. As he wriggles his way out of the mess he’s got himself in he get his just deserts and is taken down into hades.

The score contains many beautiful moments, especially the arias that Donna Anna, Don Ottavio and Donna Elvira sing. These were played by Carmela Remigo, Pavol Breslik and Ruxandra Donose. Their voices were amazing and their characterisation very strong as they sought out the cad of Don Giovanni. The set for this production was sparse (perhaps a little too sparse for the cavernous ROH stage), which heightened our focus on to the characters and their acting and singing. They were brilliant and we were drawn in to their struggles and passions which is no mean feat in the vast Royal Opera House. Their gorgeous velvet costumes in black, blue and purple I especially liked as it accentuated these characters.

Erwin Schrott was a ravishing, rampant and powerful Don Giovanni, even trying to chat up an audience member at one point of the opera, which was a nice touch. Somehow Erwin Schrott manages to make us like Don Giovanni, he is a total anti-hero, but you can’t help but like him.

This show however is one of those where the comic role can actually “steal the show”, and Alex Esposito as the witty sidekick Leporello, did just that. his comic timing was impeccable, his physical humour perfect and what an lovely voice too.

The star of the show for me - Leporello

The finale of Don Giovanni being taken to the furnaces of Hades was a dramatic ending, we could feel the heat of the flames up in the amphitheatre, they must have roasted on stage.

The fine Royal Opera House Orchestra conducted by Constantionos Carydis carried us along this journey with their perfect playing, they are fast becoming my favourite orchestra.

So another great trip to the Royal Opera House, my knowledge is expanding and I can’t wait for my next visit.

STARS : * * * *

La Traviata – Royal Opera House – Review

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It’s only over the last few years that I’ve developed an interest in opera. I have a few operas in my music collection, but I’ll admit my knowledge of this theatrical form is limited.

The thing I love about it, is that it so different to anything else, it really does take you to “another place”. For example,  this week has been a manic week for me, work has been busy, I’ve had two other visits to the theatre and also rehearsals for the next play I’m in and an assignment to submit for college. So when I arrived at the Royal Opera House on Friday night, I was very tired and in need of something that would refresh and take me somewhere away from all these other commitments and pressures. What followed was three hours of brilliance, as if I’d dived into a refreshing cool pool, all the things I’d been worried about, floated away as I was engrossed in this opera.

From the gorgeous opening of the strings, right through to the tragic end, I was captivated by the story and performances. The Royal Opera House orchestra played with finesse and grace, I was up in the gods and their playing soared effortlessly up to me.

The singing of Ailyn Perez, Hanna Hipp, Daniel Grice, and Eddie Wade was mesmerizing. They filled the opera house as did the cast during the full cast numbers. I especially liked the scene set in the gaming room as the cast and moved around and onto the table. The costumes were sumptuous. The whole production had a “wow factor”, as the towering sets, huge cast and thundering voices took us to this other world.

So as a form  of pure escapism it worked, which is what opera is to me. It took me out and away from myself and provided a wonderful refreshment to a wearying week.

STARS: * * * *