Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Haitink at the Lucerne Festival

Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.

BBC Prom 45 - Janáček: The Makropulos Affair

Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.

Two Tales of Offenbach: Opera della Luna at Wilton's Music Hall

‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.

Britten Untamed! Glyndebourne: A Midsummer Night's Dream

This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?

Salzburg encores

A staged piano recital and an opera as a concert.  Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.

Leah Crocetto at Santa Fe

On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.

Angela Meade at Sante Fe

On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.

Turco in Italia in Pesaro

When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.

Proms Chamber Music 5: Shakespeare at 400

It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.

La donna del lago in Pesaro

Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.

Proms at … Sam Wanamaker Playhouse

This highly enjoyable Prom, part of 2016’s ‘Proms at …’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.

Santa Fe: Straussian Sweet Nothings

With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.

Santa Fe’s Civil War Gounod

When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.

Coolly Elegant Vanessa in the Desert

Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.

Le Comte Ory, Seattle

Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.

Racette’s Golden Girl in New Mexico

Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.

Santa Fe’s Mozart Cast Sweeps All Before It

A funny thing happened on the way to Andalusia.

Die Liebe der Danae in Salzburg

The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.

Snape Proms: Bostridge sings Brahms and Schumann

Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.

Cosi fan tutte in Salzburg

This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.

OPERA TODAY ARCHIVES »

Performances

Eleanor Laugharne as Tytania and Barnaby Rea as Bottom [Photo by Clive Barda courtesy of Guildhall School of Music and Drama]
01 Mar 2012

A Midsummer Night’s Dream, GSMD

There were high hopes for the 2012 debut production of A Midummer Night’s Dream by the Guildhall School of Music and Drama’s Opera programme .

Benjamin Britten: A Midsummer Night’s Dream

Oberon: Tom Verny; Tytania: Eleanor Laugharne; Puck: Alexander Knox; Lysander : Stuart Laing; Hermia: Kathryn McAdam; Demetrius: Ashley Riches; Helena: Sky Ingram; Quince: James Platt; Snug: Joseph Padfield; Starveling: Hadleigh Adams; Flute: Jorge Navarro-Colorado; Snout: Luis Gomes; Bottom: Barnaby Rea; Theseus: Ciprian Droma; Hippolyta: Catherine Backhouse; Peaseblossom: Alba Bosch Teixidor; Cobweb: Faustine de Mones; Moth: Iria Perestrelo; Mustardseed: Laura Ruhi Vidal. Conductor: Stephen Barlow. Director: Martin Lloyd-Evans. Designer: Dick Bird. Lighting designer: Simon Corder. Choreograher: Victoria Newlyn. Guildhall School of Music and Drama, Barbican Theatre, London, 28th February 2012.

Above: Eleanor Laugharne as Tytania and Barnaby Rea as Bottom

Photos by Clive Barda courtesy of Guildhall School of Music and Drama

 

Instead of the usual cramped GSMD theatre, this took place in the Barbican Theatre, which allows much more scope for ambitious work, and training in theatre skills, part of the GSMD brief. At the Barbican, young artists of the future have a bigger platform in every way.

A magical effect to begin with. The mechanical curtain was imaginatively clothed in sparkling metal strips. Then, the set revealed a dormitory, perhaps some spartan public school whose fees don’t cover humane accommodation for the inmates. Fair enough, for Britten was traumatized at boarding school, and his music retraces lost innocence over and over again. Then in come the lovers, Demetrius, Lysander, Hermia and Helena appear in 1940’s military garb. Later, Bottom awakes in a bed suspended above the stage. If these images seem familiar, they’re derived. like collage, from several recent professional productions including the ENO, Garsington Opera and Glyndebourne. That’s not in itself a problem, since GSMD students are there to learn.

Perhaps this production was a collaborative effort, involving as many students as possible in the process, but Director Martin Lloyd-Evans might have exerted tighter editorial control to ensure a coherent vision. There are many levels in Shakespeare and in Britten, so A Midsummer Night’s Dream provides wonderful opportunities for young directors and designers to engage with many ideas. This time, though, everyone seemed to be playing safe. The designs (Dick Bird) don’t suggest that much thought has been put into the production. GSMD students are capable of very good work indeed. Read here about their production of Dialogues des Carmélites last year That was outstanding, and would have done credit to a professional house.

When the energy of the cast is engaged, however, there are excellent moments. The mechanicals, in particular, moved precisely, as if in a chorus line, each man perfectly synchronised, arms askew. (Movement by Victoria Newlyn). Very impressive, but individual personalities are not well defined. Not even Bottom, whom Shakespeare singles out for special treatment. It’s a wonderful role, which Barnaby Rea sang well but wasn’t called upon to develop theatrically. The lovers were well done, Ashley Riches’s distinctive voice instantly recognizable, even in anonymous uniform. We need good countertenors and Tom Verney’s Oberon had imposing presence. He’s very young so could well develop an interesting profile. Good singing from the choruses, particularly the quartet of fairies, who were vivacious and well blocked. Given the high calibre of GSMD’s Technical Theatre course participants, one might have expected more imaginative special effects to create the magic the staging lacked. At the Linbury Theatre a few years ago, Puck was played by a circus artist, abseiling from wires, as if he could fly.

MND_Guildhall_02.gifSky Ingram as Helena, Stuart Laing as Lysander and Ashley Riches as Demetrius

Nonetheless, best for last. Shakespeare and Britten wrote the Mechanical’s stage play with such wit that it’s impossible not to make it effective theatre. Now each singer made his mark, each evidently enjoying himself camping up and having fun. Theseus, Hippolyta and the lovers sneer, but Shakespeare and Britten knew that amateur dramatics have quaint charm.

Anne Ozorio

MND_Guildhall_03.gifThe Mechanicals

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):