Posts with the label opera
Showing posts with label opera. Show all posts
Showing posts with label opera. Show all posts
Thursday 22 November 2018
La Traviata: Behind the Curtain (UK Tour), New Victoria Theatre | Review
La Traviata: Behind the Curtain
New Victoria Theatre
Reviewed on Wednesday 21st November 2018 by Olivia Mitchell
★★★★
As part of Glyndebourne's 2018 touring season, they are offering Behind The Curtain performances where "the essence of opera is revealed" and audiences get a look at La Traviata as it's cleverly dissected and put together again for a condensed version of the show.
Hosting the night is comedian and opera lover, Chris Addison who welcomes the audience with open arms, and discusses opera in a thoughtful but easily understandable way. First up is a look at the famous brindisi which in 1853 was the equivalent of Gangnam Style in a show, as shown by the stellar Glyndebourne chorus. Addison likens the song style to "a group of students who don't stop talking about getting drunk." These comments, plus other ingenious ways of educating- such as showing the difference between recits and arias through a sung version of outrage at a Greggs bakery opening- make the entire night flow whilst informing people of all ages and keeping them entertained through humour and music.
Much of Addison's commentary is underscored by the glorious Glyndebourne Tour Orchestra, led by Ben Glassberg, who play both pieces from La Traviata and pieces which inspired/were inspired by it. The talent of the orchestra is evident throughout, no more so than when their sight-reading skills are shown off when playing Glyndebourne's Balancing The Score composer, Ailie Robertson's Invocation. Other games include a quick change competition called Beat The Orchestra and an audience guess at how many operas have been composed since Jacopo Peri's first, Dafne.
This Behind the Curtain event takes on the form of part opera performance, part lecture and is a whole lot of fun for both opera fanatics and new fans. It also raises questions to keep you thinking such as "is there ever an authentic setting for Verdi?" and introducing us to the wonderful performances available from Glyndebourne. Particularly interesting for theatre fans is when the Gypsy dance is taking place on stage whilst we see the rehearsal process on the screens; giving us an insight into the backstage process of forming a show.
Original Glyndebourne Violetta, Marie McLaughlin gives wonderful insight into the vocal variations needed for Verdi compared to other composers as she discusses technique and how solid breath control comes from the feet to the top of the body. Alongside some beautiful vocal demonstrations, Marie also explains how the beauty of Verdi is that he gives everything to you in the music and text which tell you exactly how to feel like the "consumptive" Violetta.
Overall La Traviata: Behind The Curtain is just a whole lot of fun. For music students it will surely provide an invaluable and memorable operatic experience and will inspire more people to participate in and enjoy opera. Glyndebourne should be commended for providing such an accessible operatic night. Here's to many more!
photo credit: Tristram Kenton
Wednesday 21 November 2018
Glyndebourne's La Traviata (UK Tour), New Victoria Theatre | Review
La Traviata (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 20th November 2018 by Olivia Mitchell
★★★★
La Traviata, Verdi's well loved opera, has spawned various productions and inspired a number of other works, including Moulin Rouge which is set to open on Broadway in June 2019. This success is partly due to the fact that it is a passionate and moving piece which still remains fiercely relevant in terms of gender roles and male privilege.
This current Glyndebourne Tour which is celebrating its 50th year, is a beautiful showcase of Verdi's music and an emotive story about honour, honesty and love. The inbuilt drama from Violetta abandoning her life as a courtesan, living with Alfredo, having their idyll torn away by his father and facing terminal illness the entire time, of course leads to a well rounded piece. However, in this production, there is little chemistry between the struggling couple so they fail to fully capture the audiences hearts and take them on the gut wrenching journey, La Traviata should provide.
The production's most moving pieces come from Giorgio (Noel Bouley) and Violetta (Mané Galoyan) who have an unequal, but well performed bond on stage. Armenian Soprano, Galoyan is certainly the star of the show, providing vulnerability, fragility and beauty whilst also giving us emotionally intense and opulent vocals. The Glyndebourne Tour Orchestra deftly perform the intricate score, with guidance from Conductor Christoph Altstaedt who manages to highlight key moments of score and plot-line with ease and dexterity.
Hildegard Bechtler's sets and costumes are not period specific so work well to make the piece feel strangely relevant, whilst also embodying an eerie air about the whole thing. A cool colour palette of beiges, blacks and greys, punctuated with sharp hints of red, does a good job of drawing our eyes to certain places and highlighting the passion and greed throughout.
The sets and costumes, alongside Peter Mumford and Keith Benson's extremely subtle lighting, make this an engaging but not over the top piece of theatre. The transitions from warm light to cool light throughout Act 1, Scene Two, as well as the removal of the few pops of pink on stage, do a great job of mirroring the tensions which are rising. Another detail is Violetta's hair which changes fractionally throughout, from an intricate updo at the start to an untamed style as her health reaches its lowest point.
This really is a production of subtlety where everything is brought out gracefully to have a fully enchanting effect. It's a production to welcome you into opera with open arms and either reignite a passion or create a passion for the art-form and Verdi's music. Outstandingly controlled vocal performances make this a must see production.
La Traviata is on again at the New Victoria Theatre on 24th November, before continuing it's tour.
photo credit: Robert Workman
Monday 10 September 2018
Proms in the Park, Hyde Park | Review and Five Reasons to Go
I have always loved the BBC Proms especially the last night which I have only ever seen on the TV. I was never really that aware of its alter ego The Proms in the Park, that is until last night. A friend and I were not only fortunate enough to attend this musical extravaganza but we were also given access to the VIP and Press arena. I can honestly say that it was one of the best evenings out I have ever had.
Every year the line-up of performers changes, this year as in previous years the event was hosted by the multi-talented Michael Ball. He was absolutely perfect in this role, linking everything seamlessly whilst making everyone feel included and thoroughly enjoying himself, which was totally infectious.
The afternoon kicked off at 3pm with the BBC DJ Tony Blackburn, who was then followed by the London based, Country, Folk, Pop quartet The Wandering Hearts. We were then treated to outstanding performances from The Rock Choir with the BBC orchestra followed by Lisa Stansfield, who performed some new material and wowed us all with her older hits. Matt Goss was next accompanied by the BBC Big Band, his set was not only excellent, but he also personally surprised and shocked a superfan.
Another highlight was the hugely talented and energetic cast from Bat out of Hell, led by Jordan Luke Gage and Christina Bennington, who had everyone on their feet belting out the songs. Just a small plug, if you only go to one show in London this year go and see Bat out of Hell, you won’t be disappointed! Also, on the bill was the young saxophonist Jess Gillam and award-winning songwriter Albert Hammond who were both outstanding.
The Maltese opera star Joseph Calleja was wonderful, and my personal favourite Josh Groban performed a truly beautiful version of Somewhere over the Rainbow, among other stunning songs. It was then time for the headline act which this year was Gladys Knight. What a fantastic performance she gave, she still has the most incredible voice and had all 40,000 of us dancing and singing along to all the hits we know and love.
Then came the iconic flag waving finale, it was so amazing to be part of this experience which was being mirrored over at the Royal Albert Hall. We all played our part in the rousing renditions of Land of Hope and Glory and Jerusalem. A spectacular firework display was a very fitting end to a truly wonderful day. I hope to be fortunate enough to go again next year and as if the musical performances aren’t enough of a reason to go, here are 5 more:
- This event is in the most glorious setting of Hyde park in central London, arrive early and take a stroll around this magnificent space. Maybe take a boat out on the lake, marvel at the stunning plants, trees and statues or simply sit peacefully and watch the world go by for a while, before entering the arena.
- This is a wonderful iconic event to attend, whether with a group of friends, as a couple or a family but even if you went alone you wouldn’t be for long. The camaraderie amongst the attendees was like nothing I have ever experienced at a large event or concert. People of all nationalities and ages from tiny tots to shall I say a more mature contingent were sharing, stories, drinks, food and lots of laughter.
- Whatever your taste in music there is absolutely something for everyone, from musical theatre, to Opera, rock, pop and disco. This is a wonderful opportunity to see a multitude of fantastically talented artists at one venue.
- The organisation of such a huge event, 40,000.00 people attended, is mind boggling and needs to be seen to be believed. I have no idea how something like this is put together so slickly. From the fabulous selection of food and drink vendors, the security, the staging, lighting, superb sound and visuals to the properly plumbed in toilets. Certainly, a feat of engineering in themselves.
- This event is a wonderfully eclectic mix of music, food, fun and revelry mixed with the superb Pomp & Circumstance associated with the Proms. In the words of a fellow reveller “it made you proud to be British”.
★★★★★
Last Night of the Proms, Royal Albert Hall | Review
Last Night of the Proms
Royal Albert Hall
Reviewed on Saturday 8th September 2018 by Olivia Mitchell
★★★★
After a spectacular eight weeks of concerts, the 2018 BBC Proms came to an end on Saturday night in a grand and celebratory fashion. As a first time attendee of the last night, I was excited to be part of such a well-known piece of theatrical history and the atmosphere and performances left me elated and proud to be British.
The concert followed it's traditional format, with a more serious first half followed by an audience participation fuelled second act. Master of ceremonies for the night was Andrew Davis who made a triumphant return after eighteen years and brought together a magical night.
Debut work, Songs of Darkness, Dreams of Light by Roxanna Panufnik is a moving ten minute piece which brings together opposing religions and cultures and was especially exciting to witness. Of the various French and English choral pieces, a stand out was definitely Charles Villiers Stanford's The Blue Bird, performed expertly by the BBC Singers and causing the rambunctious audience to be in pin drop silence for its entirety.
Saxophonist Jess Gillam provided energy, glitz and talent in equal measure through her performances of Scaramouche and a selection of World War One songs arranged by Anne Dudley. Gerald Finley also gave dominant performances of Stanford's Songs of the Sea and the vast Soliloquy from Carousel.
The second act was a fine celebration of patriotism and community. The audience, orchestra, BBC Singers and BBC Symphony Chorus joined together for a number of classic Last Night of the Proms pieces including Jerusalem and Auld Lang Syne, all of which were rousing and left the audience elated as the Proms came to a close and we all left the Royal Albert Hall for another year.
Debut work, Songs of Darkness, Dreams of Light by Roxanna Panufnik is a moving ten minute piece which brings together opposing religions and cultures and was especially exciting to witness. Of the various French and English choral pieces, a stand out was definitely Charles Villiers Stanford's The Blue Bird, performed expertly by the BBC Singers and causing the rambunctious audience to be in pin drop silence for its entirety.
Saxophonist Jess Gillam provided energy, glitz and talent in equal measure through her performances of Scaramouche and a selection of World War One songs arranged by Anne Dudley. Gerald Finley also gave dominant performances of Stanford's Songs of the Sea and the vast Soliloquy from Carousel.
The second act was a fine celebration of patriotism and community. The audience, orchestra, BBC Singers and BBC Symphony Chorus joined together for a number of classic Last Night of the Proms pieces including Jerusalem and Auld Lang Syne, all of which were rousing and left the audience elated as the Proms came to a close and we all left the Royal Albert Hall for another year.
Saturday 24 March 2018
Don Giovanni (Welsh National Opera Tour), Mayflower Theatre | Review
Don Giovanni (Welsh National Opera Tour)
Mayflower Theatre
Reviewed on Friday 22nd March 2018 by Lucy Jardine
★★★★
This performance of Don Giovanni was part of a short Welsh National Opera (WNO) season at the handsome, art deco Mayflower Theatre in Southampton. WNO are touring England and Wales until mid-April performing Don Giovanni, Tosca and La Forza del Destino and based on this performance I would recommend seeing any of the three productions if you can.
Don Giovanni is one of Mozart’s best known operas, first performed in Prague in 1787. The events take place in 18th century Seville and this production is true to the original setting, with elaborate costumes to match. The production is sung in Italian, but surtitled in English on a discreet display high above the stage, so you can easily follow the words and see where the story is heading.
Our hero – or anti-hero – is the amoral libertine Don Giovanni (played by Gavan Ring), whose only purpose in life is to seduce as many women as he can, using whatever mixture of money, deception & physical violence is necessary to complete the task.
Somewhat reluctantly aided and abetted by his servant, Leporello (David Stout), Giovanni attempts to seduce the newly-married peasant girl Zerlina (Katie Bray), while avoiding her husband Masetto (Gareth Bynmor John) and trying to elude his former lover, Donna Elvira (Elizabeth Watts), who cannot make up her mind whether the man who betrayed her deserves forgiving or murdering.
Meanwhile, Donna Anna (Emily Birsan), attended by her steadfast lover Don Ottavio (Benjamin Hullett), is bent on avenging the killing of her father, the Commendatore (Miklos Sebestyen), at the hands of a masked assailant who's eventually revealed to have been the Don himself.
As you might expect from the full title of the opera, “Il dissoluto punito, ossia il Don Giovanni” or “The Rake Punished, or, Don Giovanni”, things do not end well for our main character when he finally has to face something that he can’t bribe, beat up or outwit.
Overall this was an enjoyable performance with a strong cast, but Emily Birsan as Donna Anna and Katie Bray as Zerlina stood out for the combination of great singing and good acting they brought to their roles. David Stout as Leporello also outshone his master on a number of occasions.
photo credit: Richard Hubert Smith
Friday 23 March 2018
Tosca (Welsh National Opera Tour), Mayflower Theatre | Review
Tosca (Welsh National Opera Tour)
Mayflower Theatre
Reviewed on Thursday 22nd March 2018 by Victoria Hayward
★★★★
Southampton’s Mayflower Theatre is a well presented 90 year old theatre with excellent acoustics and architectural surroundings. This provided the perfect setting for Puccini’s Tosca. After its first performance in Rome 118 years ago, Puccini’s Tosca is brought to life by the phenomenal Welsh National Opera (WNO), bringing a diverse audience along with it.
Southampton’s Mayflower Theatre is a well presented 90 year old theatre with excellent acoustics and architectural surroundings. This provided the perfect setting for Puccini’s Tosca. After its first performance in Rome 118 years ago, Puccini’s Tosca is brought to life by the phenomenal Welsh National Opera (WNO), bringing a diverse audience along with it.
Tosca is divided into three acts with two intervals. The curtain opened and conveyed the dimly lit church of Saint Andrea Della Valle. This is where we meet the first of our two lead gentlemen: Mario Cavaradossi played by the truly wonderful tenor Hector Sandoval; who is more than qualified after singing the title role of Don Carlos twice in Moscow. Hector’s Mario is a talented passionate lover, embroiled in a love so deep with his beau Floria Tosca.
Floria is played by our very own Hampshire leading lady Claire Rutter. Claire plays the role in a bouncy, vibrant and refreshing way and able to switch from lover to murderer easily and with conviction.
To Mario’s Tenor, Baron Scarpia’s baritone matched unequivocally. Mark S Doss’ portrayal of the venomous villain owned the production. With his masculinity taking over the stage every time he took his place, he delivered a strong yet vulnerable character.
To Mario’s Tenor, Baron Scarpia’s baritone matched unequivocally. Mark S Doss’ portrayal of the venomous villain owned the production. With his masculinity taking over the stage every time he took his place, he delivered a strong yet vulnerable character.
The magnificent orchestra during this production were expertly conducted by Timothy Burke who led them through the stunning and complex score. It was beautifully rehearsed which was clear from the impeccable timing.
One criticism would be that during the first act the orchestra out-volumed the singers on stage, although, this seemed to have been corrected by Act 2.
We must show gratitude to the scenery and stage design produced by Cardiff Theatrical Services. The glorious sets throughout really took the audience on a journey seen through the characters eyes.
If you, like me, have never been to the opera, you should not feel intimidated. The whole production was surtitled (not subtitled, as I have learnt) so you are able to see where the story is leading. The screens are above the stage and are placed discreetly so you are not drawn away from the performance.
Tosca is a great introduction to opera. It has an incredible score, an excellent cast and a flawless story. Filled with love, murder and tragedy it’s a whirlwind production sure to keep you on the edge of your seats. The audience were gripped from the very beginning.
I will leave you with this quote:
‘With a thousand kisses I shall seal your eyes,
and call you by a thousand names of love.
photo credit: Richard Hubert Smith
Monday 26 February 2018
Madama Butterfly, New Theatre Oxford | Review
Madama Butterfly (UK Tour)
New Theatre Oxford
Reviewed on Friday 23rd February 2018 by Donna Meredith
★★★★★
Being new to Opera, I arrived at the New Theatre Oxford keen to experience Ellen Kent’s production of Puccini’s Madama Butterfly.
The story of young Japanese girl, Cio-Cio-San, who sacrifices her Japanese roots and traditions when she marries Lieutenant Pinkerton of the American Navy immediately captivated me.
As the opera starts, the matchmaker Goro is showing Pinkerton round the home he will share with Butterfly.
The marriage ceremony is beautifully portrayed amidst much excitement as the bride is prepared for her nuptials. The vibrant colours and costume design are mesmerising.
The arrival of Cio-Cio-San’s Uncle Bonze marks a change in mood as he clearly displays his intense displeasure with her choice of husband and her contradiction of ancient customs.
Despite her uncle’s anger Cio-Cio-San enters in to the marriage idealistically, for lifelong love. The flighty Pinkerton however sees the marriage as a short-lived affair. He inevitably leaves the country promising to return in one year. Three years later Cio-Cio-San is still patiently waiting, believing that one day he will return and they will be reunited. Cio-Cio-San’s servant Suzuki is her loyal companion during Pinkerton’s long absence
In Act 2 Consul Sharpless arrives announcing the expected arrival of an American ship, Cio-Cio-San is filled with joy at the prospect of the imminent return of her beloved husband. She proudly introduces Consul Sharpless to her and Pinkerton’s son: Sorrow. Consul Sharpless does not have the heart to destroy Butterfly’s joy, by sharing the news that Pinkerton has remarried whilst in America.
In anticipation of her husbands return Cio-Cio-San joyfully begins decorating her home with flowers. Whilst Suzuki and the child sleep Cio-Cio-San waits eagerly for Pinkerton's return. As the hours pass Cio-Cio-San gives in to exhaustion and joins her servant and child to sleep.
Sharpless and Pinkerton arrive at Cio-Cio-San’s home accompanied by Pinkerton’s new American wife. Cio-Cio-San is overjoyed when she wakes to hear her husband’s voice. Her joy at the sight of her beloved Pinkerton is clear to see. It is left to the ever-faithful Suzuki to explain to Cio-Cio-San the true intentions of Pinkerton’s visit. The realisation the he has not returned for her, but to take her son from her, and raise him with his new wife in America is met first with disbelief and then acceptance.
The overwhelming sorrow that Cio-Cio-San experiences at the loss of her son leads the heart-breaking climax of this sorrowful tale as she takes her own life.
I found the whole performance beautiful,mesmerising and ultimately painfully sad. The stage setting is simple and in fact the same for both acts. Clever lighting by Valeriu Cucarschi subtly uses shadow on the paper walls to give great visual impact. The Korean soprano Maria HeeJung Kim as Cio-Cio San gives an impressive performance, ably supported by Giorgio Meladze as Pinkerton and Zara Vardanean as Suzuki.
A mention must also go to Vasyl Vasylenko’s superb conducting of Puccini’s music.
It was a pleasure to have the opportunity to speak with Ellen Kent after the performance and congratulate her on bringing together a very talented cast and succeeding in making opera accessible to the masses. I arrived as a first time opera goer and left as a firm fan – next stop Tosca!
Monday 6 November 2017
Opera: Passion, Power and Politics, Victoria and Albert Museum | Review
Opera: Passion, Power and Politics (Exhibition)
Victoria and Albert Museum
Reviewed on Sunday 5th November 2017 by Olivia Mitchell
★★★★★
Opera: Passion, Power and Politics is a vast and exhilarating exhibition which explores the complex and beautiful history of opera as well as its power to affect us all. In collaboration with the Royal Opera House, the exhibition examines seven operas both in the context of the composer's lives and the cities and countries they were originally performed in (the only exception is the 1861 Paris production of Wagner's Tannhäuser.) The final room takes us into the modern day with a selection of operas premiered in the last seventy or so years.
The exhibition is extravagant and immersive; visitors are supplied with headsets which play pieces to accompany the route which evoke both intellectual and visceral feelings. Whilst I thoroughly enjoyed the entire exhibition and the accompanying music, I find it somewhat odd that the actual musical element is made optional, although there are so many factors which go into making an opera great, the music is certainly the most crucial.
Wandering around the exhibition space it's amazing to see how opera changed so much whilst keeping its original roots. The displays become more and more lavish, with stunning costumes and other objects becoming grander as we get further in. The political climate and opera have always been thoroughly linked and it is particularly striking to see the sudden return to minimalism during the Soviet Modernism movement when Shostakovich's Lady Macbeth of Mtsensk was suppressed in 1936 and to be taken literally to the battlefield when the music is replaced with the sound of distant gunfire as we move to study Verdi's Nabucco.
This is overall a remarkable exhibition, which like the Opera itself, really needs to be seen and heard to truly be appreciated. The amount of information displayed is overwhelming but exciting throughout and both Opera lovers and Opera newbies are sure to learn something interesting. Visually experiencing the humanity and social relevance of the seven pieces is moving and compelling and I highly recommend you go and experience it yourself.
Opera: Passion, Power and Politics is on display at the Victoria and Albert museum until February 25th 2018.
The exhibition is extravagant and immersive; visitors are supplied with headsets which play pieces to accompany the route which evoke both intellectual and visceral feelings. Whilst I thoroughly enjoyed the entire exhibition and the accompanying music, I find it somewhat odd that the actual musical element is made optional, although there are so many factors which go into making an opera great, the music is certainly the most crucial.
Wandering around the exhibition space it's amazing to see how opera changed so much whilst keeping its original roots. The displays become more and more lavish, with stunning costumes and other objects becoming grander as we get further in. The political climate and opera have always been thoroughly linked and it is particularly striking to see the sudden return to minimalism during the Soviet Modernism movement when Shostakovich's Lady Macbeth of Mtsensk was suppressed in 1936 and to be taken literally to the battlefield when the music is replaced with the sound of distant gunfire as we move to study Verdi's Nabucco.
This is overall a remarkable exhibition, which like the Opera itself, really needs to be seen and heard to truly be appreciated. The amount of information displayed is overwhelming but exciting throughout and both Opera lovers and Opera newbies are sure to learn something interesting. Visually experiencing the humanity and social relevance of the seven pieces is moving and compelling and I highly recommend you go and experience it yourself.
Opera: Passion, Power and Politics is on display at the Victoria and Albert museum until February 25th 2018.
Friday 24 February 2017
Aida (UK Tour), New Victoria Theatre | Review
New Victoria Theatre
Reviewed: Wednesday 22nd February 2017 by Melanie Mitchell
★★★
Being a relatively inexperienced Opera goer, I wondered how an opera this grand and majestic could be brought to life on the relatively small stage of the New Victoria theatre. My concerns were soon banished. Ellen Kent’s touring production of Aida comes to life with the spectacle, majesty and grandeur the opera was intended for.
The Triumphal March with a cascade of golden confetti and fire is particularly spectacular. One of the main highlights is the appearance of Houdini the Black stallion as the war horse of Radames which was a magical moment to see.
The cast were truly magnificent as was the Orchestra of the National Opera and Ballet Theatre of Moldova, conducted by Vasyl Vasylenko, both playing and singing the extremely difficult score with ease and agility.
All the male performers were strong and powerful, however the Spanish tenor, Giorgi Meladze playing the part of Radames is undoubtedly one of the most beautiful, and powerful tenors I have heard. His voice soared effortlessly and the intense emotion of the piece could be heard in every note.
The female leads both gave accomplished and spirited performances. The mezzo-soprano Zarui Vardanean has a beautiful voice and gave a real air of jealousy and malice to the role of Amneris Princess of Egypt.
French Soprano, Olga Perrier as Aida was absolutely amazing, she captivated the audience from the first note and kept them there. Her haunting performance was for me the highlight of the show, full of emotion, passion and vulnerability.
Aida is touring the UK and Ireland until May 10th 2017.
Review written by Melanie Mitchell
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