The grand opera world provides a variety of offerings this week, from grand opera on a small scale to Victorian melodrama to a neglected 20th century gem.
In his opera review of 'The Passenger' by the English National Opera, David Nice was full of praise for all involved. Polish-born Mieczyslaw Weinberg, Polish novelist Zofia Posmysz and the production team itself were all excellent. The strength of the performances carry the production with Michelle Breedt in particularly standing out with Nice claiming her voice was the finest he had ever heard at ENO.
The Roses Theatre, Tewksbury hosted Mid Wales Opera's production of Puccini's 'Madam Butterfly', which exemplified both the pluses and the minuses of opera delivered by small touring companies such as this one. Among other things, its need for just one set in this grand opera lends itself well to the limitations that come with it. The staging difficulties the production was faced with are easily overcome, as it achieves a nuanced and moving piece.
The staging and theatricals of Gounod's Victorian melodrama 'Faust' at the Royal Opera House were kept wonderfully simple by David McVicar, which added to the success of the production as it retained maximum potency. Igor Toronyi-Lalic found himself unexpectedly moved to tears by the production.
Vittorio Grigolo plays the ageing Faust, Ren Pap is the dark devious Mephistopheles and Dmitri Hvorostovsky's plays the silky Valentin as the three exciting male leads enliven the first two acts. The production is set in the French Second Empire and Toronyi-Lalic was so impressed with Grigolo, he thought he even outshone the pitch-perfect Angela Gheorghiu as Marguerite who unusually floundered slightly here.
Together, the team raised this piece from the realms of soap opera into something with significant depth and thought and conductor Evelino Pid made the audience feel like they were watching a Moulin Rouge cabaret.
In his opera review of 'The Passenger' by the English National Opera, David Nice was full of praise for all involved. Polish-born Mieczyslaw Weinberg, Polish novelist Zofia Posmysz and the production team itself were all excellent. The strength of the performances carry the production with Michelle Breedt in particularly standing out with Nice claiming her voice was the finest he had ever heard at ENO.
The Roses Theatre, Tewksbury hosted Mid Wales Opera's production of Puccini's 'Madam Butterfly', which exemplified both the pluses and the minuses of opera delivered by small touring companies such as this one. Among other things, its need for just one set in this grand opera lends itself well to the limitations that come with it. The staging difficulties the production was faced with are easily overcome, as it achieves a nuanced and moving piece.
The staging and theatricals of Gounod's Victorian melodrama 'Faust' at the Royal Opera House were kept wonderfully simple by David McVicar, which added to the success of the production as it retained maximum potency. Igor Toronyi-Lalic found himself unexpectedly moved to tears by the production.
Vittorio Grigolo plays the ageing Faust, Ren Pap is the dark devious Mephistopheles and Dmitri Hvorostovsky's plays the silky Valentin as the three exciting male leads enliven the first two acts. The production is set in the French Second Empire and Toronyi-Lalic was so impressed with Grigolo, he thought he even outshone the pitch-perfect Angela Gheorghiu as Marguerite who unusually floundered slightly here.
Together, the team raised this piece from the realms of soap opera into something with significant depth and thought and conductor Evelino Pid made the audience feel like they were watching a Moulin Rouge cabaret.
About the Author:
Steve Alexander is a writer in London with a passion for grand opera in the capital. For the latest opera review from the London opera houses, visit theartsdesk.com.
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