To me, Billy Budd is one of the great operas and I've been lucky to see some outstanding performances including the Albery ENO production and the more recent Grandage production at Glyndebourne. But I am always grateful for an opportunity to see it again, for repeated viewings so far have only confirmed its power to me. This strong evening at Opera North was not an exception.
This Budd is directed by Orpha Phelan. I had previously seen a semi-staging of hers at the Barbican but nothing else. She takes a straightforward approach with a curving upper railed balcony for the officers, space for the men underneath that, an open area in front which with small changes to lighting and furnishings doubles for the variety of other onboard settings. Finally she encloses the whole in decaying grey walls – the house, or perhaps somewhere else inside Vere's mind where he struggles with his regrets. Visually it isn't as totally satisfying a production as were the Albery and Grandage ones but it still works perfectly well, and, especially in Act Two, Phelan reveals other gifts which I rate exceedingly highly. Firstly, and this was especially apparent from the luxury of the Stalls, she has worked effectively with many of the individual performers to craft detailed characterisations. This is already brought out for Redburn (Peter Savidge) and Flint (Adrian Clarke) in their Act One scene with Vere – their “Don't like the French” duet is masterful. But it builds to new and powerful heights in the trial scene. Here Phelan and her performers really capture the sense of entrapment. Redburn's horror when ordered to preside is palpable, as is the desperation in their final plea to Vere to assist them. Phelan also makes the unusual decision to include a small amount of movement alongside the famous sequence of chords describing Vere informing Budd of the verdict. The cabin (formed by a wall of male bodies) dissolves and a tortured Vere stares upstage where we can just see Budd sitting with his back to us. Then, slowly, he goes over and sits down alongside. To me, it was a simple, powerful piece of movement which complimented, indeed reinforced the music.
Friday 18 November 2016
Lulu at English National Opera, or, A Dated Shocker
Note: This is a slightly belated review of the performance on Saturday 12th November 2016.
I didn't have particularly high hopes in advance of this production. My previous encounter with the work of William Kentridge in Edinburgh did not impress me and a first hearing of operatic Berg (Wozzeck) at the Coliseum a few years ago did not make me want to rush back for more. So I booked for this primarily on the principle that I will see any opera once.
This show does have one strong element. It wasn't finally enough to sustain my interest over the 3 hour and 40 minute running time, but it does deserve high praise – the musical performances. During the first act I was a little doubtful as to whether Brenda Rae as Lulu had the necessary vocal weight – up in the Upper Circle there was a lightness to the voice when it seemed to me the role required more presence. But Rae's vocal performance does strengthen through the evening, there may also have been an issue with the layout of the set in Act One. She sings many of the high lying passages with great beauty – though I did think Mark Wigglesworth could have brought those rare more lyrical moments out more, it isn't all brutality – and in a punishing role her stamina sees her through to the end. She also throws herself fully into the acting side of the role – that that doesn't perhaps make the impression it could is a function either of the work or the production – I remain in doubt as to which. I was surprisingly impressed by both James Morris's Dr Schon and Willard White's Schigolch. The last occasions on which I heard them both I thought the voices were becoming strained and not up to the demands of the roles they were taking. Here this was not a problem. Both were vocally and physically compelling. The Countess Geschwitz is a smallish role for a singer of Sarah Connolly's talents, but her rich mezzo brought welcome vocal variety to the texture and she found, I thought, more in the not always convincing movement of the production than some of the others. Also very fine, as Lulu's other lovers were Michael Colvin's Painter, Nicky Spence's Alwa and David Soar's Athlete. The minor roles were all well taken. In many ways, from a vocal and acting point of view, this was a rich ensemble show of the kind that was once, before the disastrous John Berry era, ENO's calling card. In the pit Mark Wigglesworth draws committed and powerful work from the ENO Orchestra. My one quibble would be that there are some phrases in the text that seemed to me to hint at a greater complexity of character than the production really wanted to get at and that the musical interpretation could have done more to point those up – Lulu's reaction when her first husband dies for example.
I didn't have particularly high hopes in advance of this production. My previous encounter with the work of William Kentridge in Edinburgh did not impress me and a first hearing of operatic Berg (Wozzeck) at the Coliseum a few years ago did not make me want to rush back for more. So I booked for this primarily on the principle that I will see any opera once.
This show does have one strong element. It wasn't finally enough to sustain my interest over the 3 hour and 40 minute running time, but it does deserve high praise – the musical performances. During the first act I was a little doubtful as to whether Brenda Rae as Lulu had the necessary vocal weight – up in the Upper Circle there was a lightness to the voice when it seemed to me the role required more presence. But Rae's vocal performance does strengthen through the evening, there may also have been an issue with the layout of the set in Act One. She sings many of the high lying passages with great beauty – though I did think Mark Wigglesworth could have brought those rare more lyrical moments out more, it isn't all brutality – and in a punishing role her stamina sees her through to the end. She also throws herself fully into the acting side of the role – that that doesn't perhaps make the impression it could is a function either of the work or the production – I remain in doubt as to which. I was surprisingly impressed by both James Morris's Dr Schon and Willard White's Schigolch. The last occasions on which I heard them both I thought the voices were becoming strained and not up to the demands of the roles they were taking. Here this was not a problem. Both were vocally and physically compelling. The Countess Geschwitz is a smallish role for a singer of Sarah Connolly's talents, but her rich mezzo brought welcome vocal variety to the texture and she found, I thought, more in the not always convincing movement of the production than some of the others. Also very fine, as Lulu's other lovers were Michael Colvin's Painter, Nicky Spence's Alwa and David Soar's Athlete. The minor roles were all well taken. In many ways, from a vocal and acting point of view, this was a rich ensemble show of the kind that was once, before the disastrous John Berry era, ENO's calling card. In the pit Mark Wigglesworth draws committed and powerful work from the ENO Orchestra. My one quibble would be that there are some phrases in the text that seemed to me to hint at a greater complexity of character than the production really wanted to get at and that the musical interpretation could have done more to point those up – Lulu's reaction when her first husband dies for example.
Sunday 6 November 2016
Cymbeline at the Barbican, or, Making Magic from Potential Muddle
Regular readers (and twitter followers) may have noticed that I've been suffering a run of poor to indifferent shows. It is therefore a joy to be able to say that this RSC Cymbeline breaks the run, in magical, moving fashion.
As a play Cymbeline is at times like a compendium of Shakespeare devices, characters and plots all thrown together into an occasionally crazy pot. We have battles stepping out of the history plays, feigned deaths akin to Hero or Juliet, recovered heirs as in The Winter's Tale and a darker reusing of the idea of love tokens seen more happily in All's Well. Then there are the abrupt deaths, the sudden changes of tone, and an exposition heavy final scene. It is easy to imagine a less accomplished team coming to grief. That instead the play transcends its limitations is I think a tribute to the way the team trust it. From the outset this show simply asserts belief in this world and its abrupt changes of fortune, and that tone successfully carried me over even the most bumpy textual moments.
As a play Cymbeline is at times like a compendium of Shakespeare devices, characters and plots all thrown together into an occasionally crazy pot. We have battles stepping out of the history plays, feigned deaths akin to Hero or Juliet, recovered heirs as in The Winter's Tale and a darker reusing of the idea of love tokens seen more happily in All's Well. Then there are the abrupt deaths, the sudden changes of tone, and an exposition heavy final scene. It is easy to imagine a less accomplished team coming to grief. That instead the play transcends its limitations is I think a tribute to the way the team trust it. From the outset this show simply asserts belief in this world and its abrupt changes of fortune, and that tone successfully carried me over even the most bumpy textual moments.
Wednesday 2 November 2016
Oil at the Almeida, or, “It's Going To Get Worse”
The Almeida under Rupert Goold, like the National under Rufus Norris, has become a venue that I approach pessimistically. Sadly this was another occasion when that pessimism proved all too justified.
This new play by Ella Hickson is, as the title makes obvious, about oil. It starts in Cornwall in the late nineteenth century when a random American turns up to bring kerosene to a squabbling, struggling farming family and ends sometime in the mid 21st century with a Chinese company discovering cold fusion and mining the moon. In between we visit pre-World War One Persia, 1970s London and 2021 Iraq. In theory these disparate locations are bound together by the two central characters of mother May (Anne-Marie Duff) and daughter Amy (Yolanda Kettle) but there's a problem. You may ask how it is that May, already pregnant in Scene 1, is still alive and looking not much older in Scene 5. The play makes absolutely no attempt to answer this question, or to provide any substitute scenario to explain who Duff and Kettle are playing in different scenes if it is not the same May/Amy. The result, by the time we reached Scenes 4 and 5, was to render the relationship, as far as I was concerned, hopelessly unbelievable.
This new play by Ella Hickson is, as the title makes obvious, about oil. It starts in Cornwall in the late nineteenth century when a random American turns up to bring kerosene to a squabbling, struggling farming family and ends sometime in the mid 21st century with a Chinese company discovering cold fusion and mining the moon. In between we visit pre-World War One Persia, 1970s London and 2021 Iraq. In theory these disparate locations are bound together by the two central characters of mother May (Anne-Marie Duff) and daughter Amy (Yolanda Kettle) but there's a problem. You may ask how it is that May, already pregnant in Scene 1, is still alive and looking not much older in Scene 5. The play makes absolutely no attempt to answer this question, or to provide any substitute scenario to explain who Duff and Kettle are playing in different scenes if it is not the same May/Amy. The result, by the time we reached Scenes 4 and 5, was to render the relationship, as far as I was concerned, hopelessly unbelievable.
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