Glorious Gloriana - or How I Came to love Britten

Gloriana, Royal Opera House 22nd June 2013

Its been a while since my last blog - and while that's mostly because I haven't been to the opera since then,  I also think I had an adverse reaction to the last new production I saw there (La Donna del Lago) which really made me quite depressed about the new productions being presented at Covent Garden.

So it was with a slight sense of apprehension that I made the journey to see Benajamin Britten's Gloriana - because if you're going to see a new production at ROH then why not ensure that you don't really know the music or the composer that well into the bargain - what could possibly go wrong?

As it turns out, very little.

Richard Jones' concept (such as it was) was to stage the whole opera as thought it were a performance set in a 1950's village hall in the presence of the young Queen Elizabeth II - a silent figure who bookended the performance.  Various silent extras lurked around the periphery of the performance area playing directors, prompts, conductors and even a St John's Ambulance lady, which brought back memories.  And yet all of this superfluous business never once intruded onto the real action taken place on stage.  Granted you could also say 'then why bother?' But somehow it worked - at least for the main part.  A rosy glow of double nostalgia permeated the whole colourful production - nostalgia for the relatively simple times of the 1950's and perhaps also a nostalgia for the times when England and her monarch were a force to be reckoned with?

So what, I hear you ask, makes this so much better than the concept of Donna del Lago, which was also surrounded by nostalgia - if a somewhat different one?  I have no idea to be honest.  Why does one directorial idea work and another does not?  If pressed I would say that the Gloriana concept just fitted - it seemed entirely natural that we be watching this through the prism of the 1950's when the opera was composed and presented as a tribute to our current monarch.  In contrast the Donna concept seemed forced and unnatural - at odds with the action taking place and more importantly with the music and libretto.

I suppose my only slight reservation regarding the 1950's framing device, is that it does impose another layer of artificiality over the action.  We already know that these are singers merely playing their part, but now they are also (presumably) singers in the 1950's playing a part!  However I will say that the cast were all fully committed and there was never a sense of not taking the Elizabethan drama seriously nor any  'am-dram' acting.

As to the music I  must admit to being surprised and completely won over by Britten. Albert Herring has been my only other Britten experience and while I liked it, I didn't completely love it.  This music was so beautiful and varied that by the end of the evening I was vowing never to neglect Britten again!  A result surely and one of the (many) reasons I go to the opera.

The singing was good and the English text crisply delivered in most cases.  Stand out performances for me were Tony Spence's lyrical Earl of Essex and Patricia Bardon's Countess of Essex.  She displayed a fine rich mezzo which I'll definitely be looking out for in other productions.  Susan Bullock as the Queen was more problematic for me.  She is a committed artist for sure but she has a shrill edge to her voice in the upper register which on occasion  made me wince.  But she played the part with gusto and was wonderfully touching in the final scene.

All of the cast and the conductor Paul Daniels were quite rightly cheered to the rafters at curtain call and I can heartily recommend this opera to novice and experienced opera-goers alike.  There are currently bargains to be had via various sources but I suspect once word gets out the seats will be snapped up.  Failing that, ROH are broadcasting the opera live on Monday 24th June - details of where it is showing here ROH Gloriana at the Cinema

My real test of a good night at the opera is the question "Would I go and see it again?"  The answer in this instance is emphatically yes.


 

From the frustrating to the sublime - a tale of two opera

La Donna del Lago 17th May and Don Carlo 18th May, Royal Opera House

I wasn't originally due to see Rossini's Donna del Lago until 7th June but a last minute ticket appeared and I grabbed the chance for an early visit.  With a cast featuring Joyce Di Donato and Juan Diego Florez my expectations were high to say the least.  This was staged in a new production by John Fulljames, the ROH Associate Director of Opera and I think its fair to say that interest was high, especially after his boss's less than successful Eugene Onegin earlier in the season.

This is one of Rossini's neglected opera and hasn't been seen at Covent Garden since 1985 and I can understand why.  Only the best Rossini singers will do and you simply have to wait until they appear before you even think about staging this.  You need not only one but two world class mezzo-sopranos and two world beating Rossini tenors, one for a role that on paper should be un-singable.  Luckily ROH have assembled a cast that pretty much hits the target musically.

This is my first time (there's that phrase again) of hearing Joyce di Donato and Juan Diego Florez live in the theatre and I wasn't disappointed in either of them.  Both displayed the virtuosity required by Rossini while still managing to convincingly portray their characters in somewhat trying circumstances -  more on that later.  But this is not Verdi or verismo - the voice is the thing here and if there is any reason to go and see this opera then its for the voice - not for the drama.

One of my pet hates on opera is the convention of a woman playing a male role - or 'trouser role'.  I find it so ridiculous most of the time that it totally takes me out of the story being told in front of me.  However Daniela Barcellona as Malcolm, almost succeeded in convincing me she was indeed a hairy Highland warrior - kudos to wardrobe and make-up.  But of course the voice is still recognisable feminine and the illusion is destroyed.  Impressive singing by the kilted Ms Barcellona though.

Kasper Holten announced that Colin Lee was unwell and unable to sing the fearsome role of Rodrigo - the second virtuostic tenor role in this opera, and Michael Spyres had stepped into the breach. I have to say that I think he has a freakish voice - but that is what the role calls for.  His voice is baritonal - but not in the Kaufmann sense of the word.  He is most definitely a tenor but when the low notes are called for he can throw them out with abandon - sometimes sounding more like a bass than a tenor.  But then the high notes come forth and it leaves you wondering just what sort of singer this was written for - a very impressive one obviously.

That was the good - now onto the production.

The basic concept looked to be an operatic "Night at the Museum", with Elena (the Lady of the Lake) in a glass cabinet, along with other cabinets containing various mementos and gentlemen in 19th centenary evening dress wandering around getting very excited by their exhibition.  Elena is then released from her cabinet and the story proper begins but not without the annoying presence of one or more actors observing the action as it unfolds.  Also present were singers costumed as Rossini and Sir Walter Scott - to what end I really don't know.  Combine that with unwarranted rape scenes and you get a production that really doesn't know what it wants to be - apart from controversial maybe?  It seems that I was not in the minority as the production team received plenty of boos at the curtain call while the singers were cheered to the rafters.

And on top of that a lot of the action took place on the left of the stage - coincidentally the bit of the stage I couldn't really see from my restricted view seat.  Now I don't expect all the action to take place centre stage but when you have a theatre with a traditional horse-shoe shape, to stage 70% of the action to one side of the stage seems bizarre.

In conclusion this was a very frustrating night - the singing top rate but the staging not only annoying but detracting from the performance.  Go see it for the singing if you can and if you really want to see the production find a seat centre or on the right of the auditorium.

Luckily for me, I had a second visit to see Don Carlo planned for the following night.  And what a contrast it was.  I won't go into all the detail here (see previous post) but the singing here was just as sublime and in its own way as virtuostic as the Rossini, but here the production (although not ideal) didn't interfere with the drama - no dead composers on stage and no silent observers of the drama.  Just a straightforward telling of the story which didn't need any concept pasted on.  The singing and acting were even better than when I saw this the first time, each singer now completely within the character they were portraying.  The final act duet for Carlos and Elisabetta once again almost had me in tears - quite frankly I don't expect to hear it sung so beautifully again for quite a long time - if ever.

In contrast to the previous evening the audience cheered to the rafters, almost unwilling to let the cast go as they took bow after bow. There was a special feeling in the house and I felt privileged to have been there.  Simply magical.

And that's the beauty of opera - one night so frustrating you want to scream, and the next so sublime you want to weep.  And that's also why I keep going back for more.

Starry Starry Night - Don Carlo, Royal Opera 11th May 2013

I may have mentioned this before but I love Verdi.  I may also have mentioned that my current favourite tenor is Jonas Kaufmann. So imagine what would happen if my two loves were combined in one fabulous evening....read on.

Don Carlo is one of Verdi's most epic opera - both in ambition and scale.  With a performance length hovering at around 4 and a half hours, this takes commitment both from the artists and the audience.  Not all of the audience were up to it and a couple of young women seated next to me abandoned ship at the first interval  their places gratefully taken by an Italian couple from the standing places. But perseverance pays dividends for this is one of Verdi's most ravishing scores wrapped in a deeply dark political and personal plot.

Hearing Jonas Kaufmann's voice live in the theatre for the first time is probably something I will always remember.  Yes, of course it sounds just a good as on DVD or CD, but live in the theatre you can feel the full impact of the varied tone and dynamics.  But I can now sort of understand why some reviewers think that hasn't got a 'Verdi voice' - it lacks the typical ping and innate sunshine in the sound, but in Don Carlo this matters less given the dark overtones throughout.  I for one would gladly listen to Herr Kaufmann in whatever he chooses to sing.  Yes, even Wagner!

But he wasn't the only vocal star of the evening. There was barely a weak link in this magnificent cast, even given the cancellation of Anja Harteros who was due to appear as Elisabetta but cancelled due to acute tonsillitis.  I won't go into the furore (not in the House but on social media) that greeted this latest of many cancellations, but will simply say that her replacement was much more than adequate.  Lianna Haroutounian has an impressive dark toned voice with ringing high notes and sympathetic acting in her portrayal of Elisabetta and she clearly impressed the audience judging by her reception at the end of the opera.  I would hope that the ROH management are even now beating down her door armed with future contracts.

In the role of Rodrigio, Mariusz Kwiecien displayed a robust baritone but I found his acting in this role pretty generalised, although I appear to have been in the minority as he also was cheered to the rafters. Beatrice Uria-Monzon sang Princess Eboli who cut a beautiful figure (as her character should) but whose voice is an acquired taste.

The fabulous Ferrricio Furlanetto as the despotic tyrant  Philip humanised by Verdi's music, was simply sublime.  Out of all of the singers on stage he was the one who fully embodied the role he was playing - that comes from over 30 years of playing the role and the experience shows.  His duet with the Grand Inquisitor as sung by Eric Halfvarson was masterly and almost the best moment in the opera.  Almost.

Although hard to pick the greatest moment out of so many great moments, the best for me was the final heart-rending farewell duet between Carlo and Elisabetta at the tomb of Carlos V.  It was simply ravishing and I cannot imagine I will ever hear it sung so beautifully again.  Kaufmann dared to reduce his voice to the merest whisper in places and yet was still clearly audible.  Haroutounian joined in this Verdian 'liebestod' until there was barely a dry eye in the house.

Last but certainly not least, Antonio Pappano led the orchestra in a rousing and dynamic reading of this complex music.  The ROH Chorus too played a vital role in making the performance come alive.

I've concentrated on the singing in this review and I think that's how it should be.  Nicholas Hytner's production has been well documented elsewhere and has both detractors and admirers.  It's semi-abstract style certainly doesn't detract from an outstanding evening although I don't think it particularly added anything either.  I've certainly seen the autdo-da-fe done better but as I say, it didn't detract from the fabulous singing and acting on stage.

I've said that I cannot imagine hearing the final duet sung so beautifully again - actually I'm hoping I will as I'm revisiting this on the 18th May where I hope to be blown away all over again.

The Magic of Mozart - Die Zauberflote, ROH 27 April 2013

Before I review this performance I thought I'd better give you a little insight into my operatic adventures to date. I suppose I grew up listening to operatic music in the home on a fairly regular basis.  My late Mum loved the opera and listened to singers ranging from Mario Lanza to Placido Domingo and Pavarotti and most singers in between - but she never really had the opportunity to see live opera on a regular basis - due to geographical location and lack of funds.  So for me the music was there in the background and something that over time I came to love myself.  However, again due to geography and funds, I let my live performance going slide and contented myself with DVD's and recordings....until a couple of years ago I found my enthusiasm renewed - and lo and behold I was in the right place (just outside of London) and with just enough disposable income to indulge my love for all things operatic.

I write this as quite a lot of my reviews will undoubtedly start with the words 'this is my first performance of....etc etc'.  So let's just say that I'm making up for lost time when it comes to live operatic performance.


So, taking the above into consideration let me start by saying that this was my first experience of Zauberflote (Magic Flute) in the theatre and it was with a little trepidation that I settled myself into my seat and waited for the music to start. Don't get me wrong, I love Mozart although mainly his orchestral works it has to be said.  For me, as with Wagner, there are some unacceptable dramatic longueurs in Mozart opera even though the music is sublime. Luckily my slight misgivings evaporated almost as soon as the overture sprang into life in the capable hands of Julia Jones, our conductor for the evening. Sometimes you can just tell from the overture when the performance is going to be a good one and that was the case here.

It's almost impossible for me to single out any of the performers as they were pretty much all equally good.  Charles Castronovo as Tamino brought a rich lyric Italianate tone to the role and some pretty convincing acting to what could be a stock 'romantic fairy tale prince' sort of role.  Tenors are not on the whole the most interesting roles in Mozart opera - he had most fun with sopranos and baritones, but Castronovo almost convinced me that Mozart tenors aren't such a bad lot really.  I now look forward to seeing him in Puccini's La Rondine in July.

But as I said, all of the cast were equally good - Ekaterina Siurina in gorgeously lyrical voice as Pamina, Brindley Sherratt noble and persuasive as Sarastro and a special mention to Albina Shagimuratova as the glacial Queen of the Night who threw off the stratospheric high notes and coloratura with ease. I've never encountered Christopher Maltman before (my loss) but as Papageno the delightfully dumb bird catcher, he gave us a funny but still touching portrayal of a man looking for love in all the wrong places and his bewilderment in being caught up in events beyond his control was evident.

David McVicar's production is colourful and magical with some now iconic images of the Queen of Night, the serpent and the Three Boys who fly over the stage in a wooden go-kart.  I was pleased to see a fair scattering of children in the audience as this is an opera entirely suitable for younger opera lovers as well as older one's.

However, there is one thing about the production that does does give me pause for thought.  The character of Monostatos, portrayed here as a rather silly pantomime-ish villain who lusts after Pamina has been subjected to the politically correct whitewash treatment - for in the original libretto Monostatos is in fact a Moor and there are references to this scattered throughout the libretto - all of which have been removed for this production.  I find this rather bizarre although alas not surprising.  For while it seems we can deal with the sexism prevalent in the text of the opera - the audience (including the women) laughing ironically at such old fashioned ideas, it seems that we can't yet deal with the implied racism portrayed and have to quite literally whitewash it out of existence - easily done as I presume the majority of the audience like me, can't speak German and therefore rely on the super-titles above the stage for the translation.  How easy then just to brush the racism out as if it never existed.  But why do it just because you can?  Would you make Shakespeare's Othello a white man? Or Shylock a Gentile   Of course not.  It would make a mockery of the whole play.  So why brush racism under the carpet?  Why not find a way to deal with it in the opera?

Rant over.

This is still  an opera that can be seen and enjoyed on many levels - for the music obviously.  But also it is an opera about fairy tales and rituals, right and wrong, it is an opera about magic, theatre and music - and that's without acknowledging the undoubted Masonic influences liberally scattered throughout.

This was a highly enjoyable and uplifting night at the opera.  Mozart really is magic.

50 Shades of Grey.....The Opera

Nabucco, Royal Opera House 6th April 2013

For those of you who might have found your way to this blog via searching the title of this post, I apologise if you were expecting something a little more...exciting shall we say.  No, this is about a performance of Verdi's Nabucco staged by the Royal Opera in a production by Daniele Abbado.

Let me lay my cards on the table here - I love Verdi.  He is by far my favourite opera composer and although I may flirt with Puccini, Mozart, Strauss and even Wagner I always return to Verdi.  Why?  I have no logical or well thought out explanation, but simply say that his his music has the ability to move me in ways other composers rarely do.  His music encapsulates the drama and in a good stage performance can stir the emotions in myriad ways.  Which is why last night's performance was so disappointing.

Let's get the bad out of the way first along with a little story background.  Nabucco is a classic biblical tale of conflict between the Hebrews and Babylonians, the title name being an Italianisation of the Old Testament king Nebuchadnezzar.  The opera was also Verdi's first big stage success, full of patriotic rousing choruses (Va pensiero) and a fantastic role for a dramatic soprano (Abigaille) and great acting opportunities for the leading baritone role of Nabucco.

As is the norm these days, the production was updated, this time to an unspecified time and location, although it had a vaguely 40's/50's look about it.  Now, I don't object to random updating, in fact a good modern production can cast a new light on old works and make you think about them in a different way.  What I do object to is random updating with no particular rhyme or reason - as in this case.  The set consisted of what looked like a giant sandpit with concrete obelisks, around which the large chorus wandered around seemingly at random. Distracting projections on the back screen only added to the confusion.

More disastrously costumes worn by chorus and principles made no attempt to differentiate between the Hebrews and their oppressors - a vast study in grey. There also seemed to have been little attempt by the director to tell the actual story and for the majority of the time chorus and principles shuffled about or stood facing the audience to sing of their anguish.  In fact, if you 'd binned the set, dressed the singers in evening dress and done a concert performance I'm convinced that the evening would have been much better.  As I say, I have no objection to updating when there is a particular point to be made, but what was the point here? And when things did get a bit more exciting (in comparison with what had gone before) there was still no dramatic reasoning behind it.

Now while a ring of fire is very pretty and certainly warmed things up on a chilly evening, what was the reasoning behind it?  Certainly the soprano Liudmyla Monastryrska gave no hint in her demeanour.  There was also some nonsense where various Hebrew prisoners were dragged around the sandpit seemingly with the sole intention of making pretty patterns in the sand!  If Daniele Abaddo were trying to say something with this production it was lost in translation.

Now onto the good.  The musicianship and singing on display ranged from good to excellent.  The conductor Nicola Luisotti led a spirited overture which boded well for the rest of the evening and sure enough the music making was first class.  Leo Nucci is a veteran in the title role, both in terms of experience and age.  At 71 years old his voice is a miracle, showing very few signs of wear and tear, and bringing with him a real Verdian style and appreciation.  I can't imagine the title role being sung better - even by the erstwhile baritenor Placido Domingo who takes over the role on the 15th April.  Dramatically too, Nucci always convinced starting with arrogant monarch (in a grey suit) challenging God, to a convincing and sympathetic portrayal of madness when he is struck down for his arrogance.

One of the main attractions for many of the audience was the chance to hear soprano Liudmyla Monastryska as Abigaille, Nabucco's daughter.  She has a huge dramatic voice in the middle range, although I felt that her lower notes were not well supported (that's me getting technical) and sometimes her top notes were slightly disconnected from the main body of her voice.  No, her glory is in the strong and secure middle of the voice, the chest register impressive and dominant and the audience clearly loved it.  However for me I was more than pleasantly surprised when she sang softly and lyrically - she has a beautiful mezza-voce which she doesn't use often enough, although maybe this is not the sort of role that calls for it.  However, what she doesn't have is dramatic impetus - at least not in this production.

Another pleasant discovery for me was the tenor Andrea Care who gave a good account in the relatively small role of Ismaele - this is not a tenor dominant opera.  But his voice is secure and he has a handsome presence and was probably one of the most dramatically engaged of the singers on stage.  I'd like to see him in a leading role to see if he has all the goods.  A special mention also goes to the Zaccaria of Vitalij Kowaljow, possessor of a deeply sonorous bass voice and some convincing acting - I'd like to see him in a production where he can fully show off his dramatic instincts.

 But above all the expanded chorus of the Royal Opera House deserve special mention.  Their singing throughout the opera was simply stunning - especially in the famous Va pensiero (pictured above) where the final held note was breathtaking and worth the price of admission alone - if only the rest of the production had been up to their exacting standards.

So to conclude, a dramatically disappointing evening but musically it was way above average.

Die Walkure...or how I learned to love the Ring Cycle. A little.

Before I start to review my latest DVD purchase I just need to make a little confession.  "My name is Karen and I don't enjoy Wagner."  I feel like I should be standing up in some sort of therapy group and making that admission, such is the look of amazement you get when you admit this in most operatic circles.  But my view is that that I can't enjoy every composer with the same level of enthusiasm and I just don't 'get' Wagner.  Not entirely sure why.  

Maybe because I wasn't brought up listening to his music in the way I was with Italian and French opera.  Or maybe its the extreme length of some of his opera - I  mean, almost 6 hours (including intervals) for Parsifal? Really?  But most of all I think that I've been put off in the past by the type of singing I've encountered in Wagner - the 'park and bark' style that hopefully is now going out of fashion. For me, Wagner is the sort of opera that is so easy to  mock and unfortunately is shorthand for the stereotypical image that opera is subject to.  You know the one I mean,  a rather large lady dressed in breastplate and horns singing her heart out not very tunefully.

See what I mean.  This is what I imagine when I think Wagner.  And especially the Ring Cycle.  I mean , why tell a story in one opera when you can do it soooo much better in four - Wagner gives the word 'epic' a bad name. And then there's the plot which involves dwarves, gold, dragons and Nordic gods and goddesses.  Think Lord of the Rings with better music. Not really my thing.  I prefer real people, whether they are Kings and Queens or Parisian bohemians, direct human emotion is what I'm looking for and I expect my opera to give me that in bucket loads.  So I don't get Wagner.

Which is not to say that I don't like his music - I do.  I've got the requisite CD with the 'best bits' and can hum along to the Ride of the Valkyries with the best of them.  I just don't want to watch or listen to a whole opera.  Until now.

Yes, its that tenor again.  Jonas Kaufmann.  Even so I approached Die Walkure with trepidation rather than outright enthusiasm and my heart sank when I ripped through the cellophane to discover 2, yes 2 dvd's.  Of course there would be - this is Wagner.  Still, there was nothing on the tv and I'm on leave from work so no rushing off for that early night - I could watch this to the bitter end if necessary.  But I must admit that I found myself thinking I could always whizz through the non-Jonas bits if necessary.

So, on to the review.

Another reason for my slight apprehension is that this is a DVD from the Met Opera, showcasing their latest production of the Ring Cycle by Robert Lepage, featuring what has come to be know as 'The Machine'.  To say that there have been mixed reviews is putting it politely. There's no way to adequately describe this contraption so you're going to need a visual.

That's the Ride of the Valkyries by the way.  No horses as you might have noticed.  That picture doesn't really do it justice though.  This is a fully articulated platform that serves as stage, occasionally as horse, but mostly it seems, as a surface for the many projections throughout the opera.  It looks clumsy and dangerous and I for one wouldn't like to be clambering around its many facets and I can only imagine the technical jiggery-pokery needed to ensure everything was alright on the night.  Anyway, let's just say it was effective in parts and didn't overly detract from the opera itself.  However I did get the feeling that so much attention had been paid to The Machine, that not enough was spent with the singers and the story they were trying to tell.  A little more time spent there would have reaped benefits.

Luckily a world class cast was assembled in most of the roles and if its top class singing you're after then look no further than Jonas Kaufmann and Eva-Marie Westbroek playing the incestuous twins Siegmund and Sieglinde, separated when young and now joyfully reunited here.  Even in Wagner (and some might say especially in Wagner) Kaufmann's singing is a joy and never descends into stereotypical Bayreuth Bark territory, strong, dark and luscious tone that even I could listen to, Wagner sceptic that I am.  Ms Westbroek matched him with some sublime singing and a touching characterisation of the downtrodden wife she has become when Siegmund finds her.  However, they were both hampered in Act 1 by The Machine taking up half the stage necessitating all the action taking place downstage.   No matter, I was hooked by the love story (yes I'm a romantic) and couldn't wait for the rest of the opera.

Act 2 brought the second reason why I ventured into the Ring Cycle.  Bryn Tefel, Welsh bass-baritone playing the King of the Gods, Wotan.  He has an enormous presence, both physical and vocal, but uses both aspects with taste and always with focused intent.  This is the first time I've encountered his Wotan and I was not disappointed.  In fact I was pleasantly surprised at the sheer emotion he managed to convey in his portrayal of this mighty god.  He might be a god, but he has the same problems as many human beings, a nagging wife, an errant daughter and a son who he loves but cannot now protect.

And so onto the Die Walkure herself, Brunhilde, here sung by the American soprano Deborah Voight making her debut in the part.  Since I have nothing to compare it to and not being a musician I can only say that I found her singing good without being outstanding - especially in comparison with her colleagues. She also acted the part adequately again without being outstanding.  Supporting roles were taken well with special mention going to the rest of the the Valkyries who sang and capered around the machine without betraying too much nervousness.  

All in all, and much to my surprise  I did actually enjoy the whole opera and didn't fast forward through anything.  In fact at one point I was reduced to tears when Siegmund dies in his father Wotan's arms.

Nicely played by both singers and gave me exactly what I was looking for - direct human emotion that I could understand.. I was equally impressed by the complexity of the father/daughter relationship between Wotan and Brunhilde.  A lot has been written about Verdi's various depictions of fathers and daughters but I really think Wagner hit the nail on the head here, and all the more touching for being totally unexpected.  By me at least.

So, am I a Wagner convert?  I wouldn't go that far.  But at least I think I've come to appreciate the music a little more.  And if Kaufmann and Terfel ever bring their Wagner partnership to the Garden - I'll be right in the queue for a ticket.  And I think that's definitely progress.

My next review will definitely be of a live performance - Nabucco at Royal Opera this weekend.  

Carmen...or should that be Don Jose?

I ask the question because quite frankly in this production it is the story of Don Jose that is most prevalent, a notion underlined by having him appear in the prologue, clutching the remains of a dried up flower and then being dragged off to meet his maker before the opera proper starts.  As a concept it works quite well and  the point isn't laboured, but you have to have a reasonably good Jose to sustain the focus of the audience.....luckily this production does.

Thought I'd start off my reviews by revisiting a much loved DVD dating from a 2006 Covent Garden production starring Jonas Kaufmann and Anna Caterina Antonacci as the eponymous heroine.  This features Kaufmann on the cusp of operatic stardom, probably one of the performances that launched him into greater public awareness.  And he certainly got my attention when I first saw this DVD last year.  He sweeps away the notion of Jose as wimpy mama's boy and instead presents a character who is potentially dangerous right from the word go, charting the journey from a intense young man with potential for violence, to obsessive lover and then finally to murderous psychopath, with chilling conviction.  He certainly had me on the edge of my seat for the final act.

So much for the excellent acting, what about the voice?  I could go into raptures but that has been done elsewhere, either a voice speaks to you or it doesn't.  This one speaks volumes.  He has a rich baritonal-tinted voice but one that also easily essays the tenorial heights when required.  He also has exquisite pianissimos, used tastefully but to devastating effect in the Flower Song.  But most of all he puts his voice at the service of the music AND the drama.  This may result in a few rough patches where emotion clearly gets the better of him, but the result is worth it.

His Carmen in this production, Anna Caterina Antonacci, is no slouch in the dramatic department either.  Her  Carmen is sensual, sexual and downright earthy.  Some might not like this approach but I do - Carmen is a gypsy with all that entails, not some picture postcard polite Spanish señorita.  She inhabits the character with all her considerable might although, in the end,  I was still left wondering who she was.  Perhaps there isn't an answer to that one.  Her soprano voice is slightly lighter than those I'm used to hearing as Carmen (a part normally essayed by mezzos) but it blended nicely with Kaufmann's heftier tone and I certainly didn't feel that there was anything lacking.

Other parts were taken competently if not brilliantly.  Norah Ansellem is not the usually sickly-sweet Micaela although I still can't warm to the character.  Her singing was also richer toned that most Micaela's and all the more welcome for that.  Ildebrando D'Arcangelo made an impressive entrance as Escamillo on horseback (being carefully led by lackeys it has to be said) and made an adequate impression in what I would class as a pretty thankless part.

Francesca Zambello's production told the story well, was convincingly grubby in parts and didn't go to town on the faux Spanishness that some productions seem to excel in.  But neither did it unearth any special insights into an already very well known opera.  On DVD it looked fine in close up, all burnt reds and oranges and set in a fairly minimalist set.  This production is being revived in the 2013-14 season at Covent Garden so I hope to see this production in the flesh and report back then.