Category Archives: baroque

L’incoronazione di Dario or blondes have all the fun (Teatro Regio Torino, 23 April 2017)

 

this might break your browser but it’s my best effort at curtain call shots. Plus it’s got birds and bees so you want to enlarge it 😉

There must be a reason why Statira is wearing a blonde wig whilst Argene has on something very much akin to a cycling helmet (everyone knows cyclists are pests!). Ok, so it’s a ropey turban 😉 she still looks ready to mount a bike (considering all the men are steering clear…).

Similarly, there must be a reason why Dario is wearing the same attire as the shadow of Cyro (Saudi style). The other guys simply can’t compete, whether they have the oil or the weapons.

You would think a smart woman like Argene knows 1) what the oracle says goes (whoever marries Statira will rule the empire) so 2) simply tempting Dario away from the blonde won’t do the trick. But it appears she has fallen for him much in the same way men who should know better (Niceno) have gone gaga over Statira. During part I she languishes in bed, mopey because he won’t notice her. But she springs into action as soon as he wanders into her room (as opera characters seem to; to be fair, she promised him her “help” in getting Statira to love him).

Flora: Mylady, Dario is coming, cover yourself so you can receive him!
Argene: better yet, I shall receive him naked! (she lounges, eyes aflutter, legs and bosom exposed – by her time period’s standards; in this production it means the blanket-robe is off).
Dario: any news about Statira?
Argene: still hates you.
Dario: oh, how cruel my fate etc.
Argene: well, there might be others who like what they see when they look at you (wink-wink, nudge-nudge).
Dario: that’s nice, but could you possibly talk to Statira again?
Argene: sure, I’ll do all I can. But first help me write a letter, all of a sudden – right about the time you stepped into the room – I became so overcome with emotion my hand has started trembling (wink-wink, nudge-nudge)
Dario: ok. Who’s this letter addressed to?
Argene (gets into his personal space): the man who has conquered my dreams. Write! My sun, light of my days (mega bosom nudge, power eyelash flutter) –
Dario (eyes popping, scoots away): My sun, light of my days… ok, next?
Argene: oh, I’m wasting away for your love! (mega nudge)
Dario: the man of your dreams must be very difficult indeed. Light of my days, oh, I’m wasting away for your love…?
Argene: you didn’t understand anything, did you?
Dario: on the contrary, I understood perfectly.
Argene: …and?
Dario: remember you said you’ll help me with Statira?
Argene (eyeroll): ok, enough writing. Go, go, I’ll write the name later.

In the meanwhile, Statira is worried about suddenly being pushed into the limelight.

Statira: Flora, what is this commotion all about?
Flora: Mylady, you’ll soon be queen!
Statira: hm. What does a queen do?
Flora: she wears a tiara!
Statira: that’s nice. What else?
Flora: she presides over public ceremonies!
Statira: eh, that sounds tedious. Anything else?
Flora (wink-wink): she does her wifely duties to the king.
Statira: but what are those?

Seriously. Was she raised by wolves? Clearly not, otherwise she wouldn’t be so scared when she gets to the woods. But talk about sheltered. And she’s the older daughter. Reminds me of that joke about the two pious virgins who got married and were still childless a year later (not for lack of trying).

Niceno, who’s supposed to be the token Arabian (nights) philosopher (must have a philosopher at the Persian court, right?), has poured all his emotions into a soulful and finely crafted series of letters to the woman who makes him sigh but who, he has a feeling, might not be returning his feelings. He finally plucks the courage to give Statira the letters. She really gets into the amourous atmosphere and reads aloud with pathos to wistful viola da gamba backing (I have a horribly sneaky suspicion this is a joke on emotionally astute but otherwise dim actors) only at the end to prove she has absolutely no clue about what he’s trying to tell her.

speaking of books, many similar booths had a large selection of totally random second hand books on Via Po (photo: thadieu)

Hey, Mr Bookworm, didn’t you notice by now that she’s Miss Literal? So, in his desperation, though he has pined for her for who knows how long, he makes a terrible pact with Argene, who, apparently (it’s still wink-wink territory, blink and you missed it, though with Galou at the helm you most likely won’t) promises him she will sleep with him if he helps her break the not-yet lovebirds apart. If you can’t have one sister… the librettist’s commentary is clearly that no matter how intellectual or practical the man, none of them likes the smart sister (pfui! back to the kitchen) but will “work” with her if she throws something else into the pot. At some point whilst Statira is once again acting “blonde”, both Niceno and Argene turn to the bottle. That’s a bit like 2017.

Statira soon finds out what her future husband wants from her: her eyes, her hands. Very alarming! The man sounds like a right serial killer 😀 She has a stern/earnest sounding aria (quirky Vivaldi) about how she simply won’t allow that malarkey. Which plays right into the hands of the more practical Arpago and Oronte, who each boasts about their military or admin-y (oil pumping? there’s a dirty joke in there) exploits.

If you think the silly comedy can get tired after a while then more credit to Mingardo who remained funny even after we knew exactly what was coming. Also credit to Vivaldi who has a very clever way of putting silly and extremely catchy together with very beautiful.

After trying his luck in vain, Niceno defects to Argene’s side, “guiding” Statira by telling her each of these young men is worthy of her hand. She promptly promises her hand to both (I guess she quickly got over the fear of literally losing her hand to every man in the country 😉 ). This annoys Dario, who thinks she’s playing hard to get. He vows to take his anger out on his rivals. Now we know the cause of so many bloody battles through history.

Next comes Niceno’s badass bass aria with bassoon obligato (bullseye) along the lines of Tardi s’avvede. That is to say a “wise adviser aria”, in which Niceno cautions Dario that getting irate makes him appear less suave. The youthful looking Mr Bassoon did a solid job and I can assure you youtube doesn’t have a better version than Novaro’s, who has a somewhat similar type of voice to Galou (light but of high density).

I guess the Saudi connection is that Persia was the Saudi Arabia of its time. The Oracle is the West, who always somehow supports the winners in the area, though it pretends not to get involved. Astutely, then, neither the ones who have the oil nor the ones with the guns really win and whoever tries to stand up to the Oracle’s dictums will end up in the “harshest chains” (I really like that bit. Are they the kind with spikes on the inside?).

It only took me several listens and two live performances but I must say the libretto isn’t that bad after all!

retro but fun

On Sunday we made our way back to Piazza Castello, where we could already recognise some people as dressed for the opera. After soaking a bit of the very congenial atmosphere we went up to our box on the other side (left) of the auditorium. Interestingly, the door was locked. We tried other doors and it seemed hit and miss. We noticed others had similar problems, so we made our way to the auditorium to look for an usher.

Suffice to say we sat somewhere central, next to these very nice old ladies, who had upgraded too. This was the last performance of the run and there were empty seats scattered around the venue. But no more cameras.

The sound from the auditorium was very good on both nights, perhaps a bit better on Sunday, when we had prime location. We could hear every singer’s consonants. Finally we could see what we missed stage design-wise on the first night (quite a bit).

You might remember the poster that says “the best voices in Baroque for Dario“. It didn’t lie. Regardless of one’s preference for one singer’s tone or another, Dantone had assembled a gorgeous sounding team indeed. Vivaldi saw to it that everybody had their time to shine and the direction dropped the curtain behind all but the two main ladies to give them centre spotlight at least once and they took the challenge with gusto.

Mameli’s phrasing in particular rivaled the main ladies’, though her role is quite clearly written for “we need to give something to the soprano” reasons. Alinda is Oronte’s ex, who is – as ever in Baroque opera – stalking him and generally putting spanners in his works with amazingly precise timing. She’s stealthy like a ninja and her outfit fits the description.

One has to comment on their very toxic relationship. She’s, as I was saying, a stalker and he is very abusive towards her up until the very end (he even has an aria along the lines of “leave me alone with your fidelity, I’ve moved on”). Yet they are “happily” reunited. Of course, we are led to believe that he’s only discarded her because of his ambitions to the throne, but he is still extremely emotionally abusive throughout. You don’t want to be reunited with someone who’s done that to you. You also might want to stay away from people who are so needy as to take you back unconditionally after repeated abuse. [ / soapbox]

here’s the big sign, just to break the tension – and to grin.

I wasn’t too into Cirillo’s voice until she had a slow (and a bit boring) aria with long lines. Those came out rather nice. Perhaps Oronte’s music isn’t quite that gripping, on top of his character being a selfish dick, so I didn’t get that much out of the whole thing beside said long lines.

There’s that bit of sparring roughly in the middle, between Arpago’s soldiers and Oronte’s techies, which I guess makes less sense in reality than in this production. It reminded me of the military parade in the Aix Tito in that the sparring people shout at every move. For my money it was a bit slow but entertaining enough, moreso because all involved were women.

I was – predictibly – more excited when Argene pulled a gun on Arpago at the end and then even turned it on Dario himself. That Dario just plucked it away was, as thadieu already mentioned, less climatic, especially since he had not, at any point in the production, looked like much of a warrior (rather like middle management). Pointing a flashlight at Niceno and repeating back his creepy words at him doesn’t quite count as heroism in my book. Then again, Argene was in love with him and Oronte was hardly helping with his getting cold feet over killing Alinda (why not just throw her in jail?).

Did I mention that Argene, after mistakenly revealing to Dario the plan to get rid of Statira (in a last ditch attempt to get him) decided to get Oronte on her side and as consort? Why not Arpago, the chap without a stalking gf is anyone’s guess (clearly Argene digs administrator types). But after bitching about Oronte and Alinda’s disfunctional relationship I can’t say that any two people in this opera have a healthy relationship, aside from perhaps Dario and Statira, who look like they they’ll work it out.

one of the central cameras, on the row we relocated to on the first night

Thadieu was suggesting a different take on the ending rather than the floppy plucking of the gun. I also thought that Argene’s last line of recit – “Every crime has a punishment” – was one of those Captain Obvious moments that 18th century librettists liked to tack on the ending for moralistic reasons. I’d’ve done away with that and just gone into Ferri, ceppi, sangue, morte! The announcement about Galou’s indisposition ran on Sunday as well, but she amped it up for the last show of the run, with an appropriately desperate cry on the last (il mio) furror! And she was hilarious in this super scheming role. I don’t think I’ve seen a more persistent schemer yet, 80% of what comes out of her mouth is post truth fare.

So because thadieu has goaded me enough over the (last) weekend I’ve raked my brains for my own description of Galou’s voice – as I feel it. Thus far I basked in an ah, so smooth! cloud every time I heard her, unusually not needing further word-anchoring. But after the “beam of light” analogy I thought I agreed but not quite. Then I listened a bit and right after this version of Quel torrente1 it hit me:

Luscious mascarpone cheese layered with espresso-soaked sponge fingers, with a touch of cognac or brandy.

Also known as tiramisu. Light (weight) and dark (colour) and soft and heady (and often humorous). I think the way she approaches singing is more impressionistic than architectural/visual, so too much analysis won’t leave you any more knowledgeable than the moment it hits you (or doesn’t). The sound just brushes you in passing, disolves almost instantly and you’re not quite sure if you’ve imagined it or if it was real. For instance it this bit of Stabat mater the sound just envelopes you much like darkness itself would. It’s there but it’s kinda not. Very poetic. Then for a return to Vivaldi, just check out the smile in the voice and general impishness in this cutest of arias (Io sembro appunto quell’augelletto; my mum was right after all, it is birds and flowers/leaves 😉 ). The delay in posting this was partly due to my spending a fair bit of time fawning over this charming aria.

On that note we should perhaps move on to Mr Dario, sung here by Mr Belcanto Tito. Allemano’s larger (and darker) voice makes a fine contrast to the others and sets him apart as “big boss”, though the role itself is pretty congenial. He more or less waltzes in without fantastic credits like Arpago and Oronte and gets the throne with the help of personal charm (un bel viso) and a few good decisions, like the one where he pretends to take Argene up on her offer, simply to find out where Statira might be. Allemano’s not a bad actor at all, looking a bit dorky here and showing good comedic skills (especially when Argene is – unsubtly – trying to put the moves on him). He copes well with the coloratura demands and has that typical Italian tenor smoothness when it comes to languid arias.

lobby, chanderlier and stairs to boxes and the retro boxes chairs (pretty comfy)

Though affable on both days, the public was more animated on Sunday and they also applauded different arias (the Sunday crowd liked Galou better 😉 – her “instant double manipulation” moment got (very deserved) applause too, whilst the Saturday one really loved Tomasoni (I also thought her big aria was done especially flashy on Saturday); thadieu felt she was trying to steal the show but I think she was simply making the most of her time on stage, given she is very young. It would have been very difficult to upstage the main ladies, though the public – and pretty much everyone else – seems to adore Mameli; I’m not all that taken with her tone, though, like I said, her artistry is very fine. Everybody was happy with Mingardo on both nights, though I think the giggles were louder on Sunday).

A large bunch of people took a delibrate selfie with the big Dario sign. Just to the far side of the collonade was a couple of buskers who drew a pretty good crowd singing what sounded like vaguely traditional Italian music. In Piazza Carignano a chap was singing The Ring of Fire, which struck me as very odd after the opera, but there you go.

That was our first experience of seeing Italian opera in Italy. I hope they hang on to the Vivaldi Festival, as there are more good things to see from him and I – in case it wasn’t clear – I really liked Teatro Regio. Just not the far boxes. Sounds from the chat after the radio broadcast that there will be reasons to return, as the Baroque project is mainstay at Teatro Regio. Also interesting from the chat is what Dantone says about Dario‘s place in Vivaldi’s oeuvre, due to the ascendence of opera buffa. Though he thinks that Vivaldi’s operas are usually harder to stage (back then it was apparently left to the singers to improvise in opera seria), this one, because of the commedia dell’arte influence, is a lot easier. As we know, Vivaldi, though very successful in his youth, died in poverty, because of changing trends he couldn’t buck. Dantone also says he was happy with the Teatro Regio musicians who were interested in the language of Baroque, though their usual repertoire is the typical late 19th century fare… etc.

And, yes, this post better be posted. I might tweak it a bit in the coming days (too many pictures to choose from!), I spent to much time playing with that curtain call picture…

this is the metal gate that separates the inner “yard” space (with the giant sign) from the opera collonade (photo: thadieu)


  1. not that I’m going to convince TADW who’s already decided to have her sing Cornelia. 

L’incoronazione di Dario (Teatro Regio Torino, 22 April 2017)

all the pictures in this post can be enlarged 🙂

Thadieu and I arrived bright and early in Torino on 21 April, after a (very smooth) redeye flight that saw us leave the house at 4am. As per instructions, we went to the train station across from the airport. It was deserted, the ticket machine broken. We went back into the airport looking for another machine, as per the instructions on the broken one, but in the end it turned out the train wasn’t running (don’t ask me why, my operatic Italian only goes so far) and we got bus tickets to the rail replacement instead, with assurance the bus will leave us in the proximity of the Dora Station, where we needed to get in the first place.

But this is a commuter bus and you need to know when your stop is coming up. We, of course, didn’t. We followed it on Google maps but then, at an unknown distance from our stop, the bus made a right turn and crossed the river. Oops. We got off and made our way on foot, which wasn’t bad at all, and it took us to China Town and to that – apparently – famous and very large street market near the Duomo, to thadieu’s delight.

Teatro Regio: business at the front, party at the back

After a very welcome nap (yours truly slept like a hollow log, heard nothing, smelt nothing whilst the host cooked downstairs), we got some tips from our host and went out exploring. The theatre was comfortably close, right outside Regio Parco, through an ivy covered wall and up a short, curved slope. From the outside it looked like all the other buildings lining up the square – all with collonades facing Palazzo Madama. Inside, though, is a modern building. Much to our enjoyment, L’incoronazione di Dario was advertised in immense letters and in various posters.

We ventured into the box office and I picked up a leaflet advertising the local Vivaldi Festival. If there is a Handel Festival – several, in fact – it only makes sense someone somewhere should celebrate the Red Priest 🙂 hopefully every year?

that’s the poster

From the leaflet I learned that Galou and Cirillo were singing Vivaldi and JS Bach’s Magnificats with Dantone and the local orchestra and that night!

thadieu: should they be singing three nights in a row?
dehggial: I guess they can!

Whilst we gently wandered around the square, I inched towards wanting to attend the show even if thadieu wanted to get back due to raging allergies and in spite of the fact that we only had one key. But I learned a valuable lesson: the box office closes at 6pm during the week so no greed for dehggial. We also realised they had a Juditha with lesser known singers (including a contralto who sang Holofernes, Abra and Ozias!) on April 19, part of the festival.

To ease the pain 😉 we went and got 2 flavour gelato (€2) and capped the day off with fluffy pizza at a place frequented by locals (suggested by our host). On the way back we marvelled at – and approved – the homely feel of the practical use of window and balcony space.

After a 12 hours sleep (thadieu due to jetlag/allergies, yours truly due to lack of sleep in general) and an amazing racket made by the host’s cat in one of those mad moods, we were ready for the opera! We got there with enough time to leisurely marvel at the venue (selfie time with… everything, but especially the doors, which are very clever and the giant sign advertising Dario – pictures when I get home and also at thadieu’s blog) and realise our tickets actually needed printing. That wasn’t an issue, the staff at the venue/box office were very nice.

Teatro Regio’s mesmerising doors

We then got to our box – as you can see from pictures of the venue, there is an open plan auditorium and one level of boxes all around. The layout reminds me a bit of Opera Bastille. The views are good from everywhere in the auditorium but not from all the boxes. Namely, not from ours, because the orchestra pit is curved, so I don’t at all recommend the first 6 boxes on the sides, unless you particularly want to see the orchestra – you get the best view in the house for that, and we did make the most of what we had. This production added insult to existing injury by having the singer’s often sing from the back of the stage, so, for instance, Dario’s first aria came to us through the wall, which made for some guessing. We also missed some of the visuals, like late Cyrus’ portrait and half the action during the fight scene.

pit view from our box

However, you know we’re always looking to upgrade and I spotted central seats on the row with the camera. Yes, there were cameras in the house so one can hope for possibly a TV broadcast? Ideally a DVD, but who knows how Italian houses do it. Considering the market is not saturated with Dario DVDs and Dantone believes in this cast… in any case, we successfully upgraded to the 8th or so row centre for the second half and we could then see and hear everything.

It would have really been annoying to miss the “contralto in the woods” aria, with Mingardo’s back and forth flights to the back of the stage, because it was absolutely hilarious. If you don’t know what I’m talking about, it’s the moment when Statira, having been tricked by her scheming sister, Argene, is imagining how beautiful the woods with the chirping birds will be when she meets Dario outside city walls. The aria repeats the A section several times and she keeps coming back to the centre of the stage, much to the annoyance of Argene and her paid help, who want her gone already. Suffice to say the aria showed off Mingardo’s artistry both in singing and with regards to comedy. I especially enjoyed a moment where she deliberately allowed the violin centre stage, having varied her dynamics in sorts of ways up to that point.

This is a good moment to mention that thadieu and I (along with Leander and Baroque Bird) saw a performance in London on the 20th, which left us perplexed by the conducting choices. So I was paying special attention to Dantone’s handling of a non-specialised orchestra with Baroque voices. Time and again it was clear that a very delicate touch did the job brilliantly, allowing the singers to vary their dynamics as needed, without being drowned.

However, remember that short convo thadieu and I had upon realising Galou and Cirillo were singing three days in a row? Well…

Teatro Regio announcer: Sra Galou has oversung but will still be with us tonight, just go gently on her.

So she’s not made of teflon, after all 😉 welcome to 40, Sra Galou. Only volume seemed affected, so upgrading helped. The coloratura was there, the silliness of course (Argene is very busy scheming, especially in part two, but all her efforts are thwarted, so she needs to be very resourceful) and the ravishingly beautiful tone as usual. I guess she could vary her facial expressions a bit, there is only so far mischievous winking can go – I say this myself as an abuser of said winking and veteran face puller. But this is an out and out comedy and she, along with everyone else, seemed to have lots of fun. I especially enjoyed the short aria where she manipulates both Dario and Statira and – of course! – the closer, Ferri, ceppi, sangue, morte!, when Argene, having been found out, is put in “the harshest chains” yet she boasts she’s not scared at all. We know she’ll be plotting away. Here was where a bit more volume would’ve helped with the shouts of “morte!” but still the legs to was beautiful (< that was autocorrect, but yes, legs indeed. Argene showed leg at every opportunity, not that anyone was complaining (except for Dario). What I actually meant was legato 😉 ).

Team London: Dantone too knows about the magnificent confrontation! 😀 (that was the concert on 21st April)

I dind’t mind the costumes as much as I thought I would (but I will still bitch about them), though I didn’t understand why Cyrus and Niceno were dressed in Saudi garb, with the women in Gate of Ishtar attire, the army as guerillas, the Oracle in Western suit/PR clothes and Oronte, who’s the chief of Persian administration (so a Prime Minister of sorts) looking like the Captain of the Janitors. It’s especially amusing when Argene, in her sumptuous robes (blankets) asks Mr Janitor in fluorescent jacket and rubber boots to rule the empire alongside her. I guess that would assure special attention would be given to the local plumbing issues 😉 I also don’t think the piping/stage design made any particular statement, aside possibly from pointing to courtly internal machinations/more focus on Captain Janitor 😉 there were also lots of hanging curtains, some of each resembled he local Shroud suspiciously well, at least to my mind. I really admired the work put into the representations of Persian relief sculptures, though, again, the whole concept felt so scattered to me I didn’t particularly see need for them. For my money, the costumes (blankets) and filigree lamps gave enough suggestion of the era.

well, with Giulia’s explaination and after seeing it again, I have finally got the concept. More about that in the next installment.

So that’s it for now (more gelato and pizza after the show, of course). I know there is a lot I didn’t talk about – like more than half the cast – but this is due to the luxury of seeing two performances. I confess on occasion I was so focused on the orchestra/Dantone I had to sacrifice the attention paid to singers. For more impressions on this production, check out thadieu (this performance) and giulia (the premiere). There will be lots of venue (selfies included), town and maybe curtain call pictures when I get home, though as curtain call goes you’re better off with thadieu’s video for the feel of the place.

ps: sorry for any typos, the kindle isn’t made for writeups.

Galina Averina recital (St George’s Hanover Sq, 5 April 2017)

One of the most fun things at London Handel Festival is to attend recitals by the local young singers on the rise. You might remember I was very impressed by Averina’s performance as Dalinda in last year’s RCM production of Ariodante. Others agreed and she came second in London Handel Festival’s 2016 singing competition. On Wednesday we had the opportunity to hear her sing the tunes I imagine she likes best. As you can see below, they tend to be playful, always a bonus for me.

Galina Averina soprano

Musica Poetica
Claudia Norz violin
Oliver John Ruthven harpsichord
? I’m sorry, I didn’t catch the cellist’s name as she had stepped in for the original one

St George’s Hanover Sq from Maddox Street

Handel
Un cenno leggiadretto Serse

Cavalli
Restino imbalsamate La Calisto

Handel
Neghittosi, or voi che fate? Ariodante

JS Bach
Zerfliesse, mein Herze St John Passion

Handel
Piangero la sorte mia Giulio Cesare

Averina is vocally very accomplished, with a clear, easy coloratura and a pleasant, even tone across the range and from the getgo, good interaction with the instruments around her, as thadieu and I noticed last year in Ariodante. Her posture is very good and, though lively, knows how to contain her moves. She also looks like you’d imagine a character who has arias like Un cenno leggiadretto or Tornami a vagheggiar. Her characterisations were spot on, culminating with getting playful with her compact mirror on Myself I shall adore. It’s a long aria to marvel at one’s own gorgeousness but I think she loves herself all right 😉

Perhaps because the playful arias work so well for her, I was quite taken with the wistfulness she pulled for Zerfliesse… .

The violin sonata came off nicely, especially the Allegro part, where I really enjoyed the bassline.

there is an Ancient Maps shop very close to St George’s Hanover Sq. This is a wind chart (click to enlarge).

Handel
Sonata in D major for violin HWV 371

Handel
Myself I shall adore Semele

Rameau
Amour, lance tes traites! Platée

Handel
Tornami a vagheggiar Alcina

One glance at the setlist and something jumps right at you: we don’t often get French Baroque in London. It’s fun when it happens, especially if it’s one of Folie’s arias. You probably all remember Mireille Delunsch acting French-mad in that music sheet dress. If you don’t, check it out pronto. Averina did a lively job of it herself. I was reminded of an advice Marilyn Horne gave an English-language based singer presenting a German aria: pronounce it much stronger than you think necessary. Likewise, if it’s madness and it’s French you can fire all cylinders and it might not be nutty enough 😉 But she’s on the right track.

You know any setlist that includes Tornami… is guaranteed to make me book a ticket. I was amused that in her presentation of each aria Averina said of Piangero…  (along the lines of) “this is the character every Baroque soprano wants to sing” but in regards to Tornami… “this is Handel’s most fun aria”. And it certainly is, for soprano. Even Myself I shall adore isn’t quite on that level of giddiness. It was as fun and playful as a closer could ever get.

shop windows; the handbag one blinded me with its shininess; it’s also the window that flags Maddox Street in case you forgot your whereabouts

Earnest moment of the month: have you noticed the curious thread that links most of these characters?

Atalanta: futile but cheerful scheming,

Calisto: her lesbian tendencies cruelly exploited (poor Calisto!) – also, what the hell is this thing about being turned into a bear? I mean, a bear?! Couldn’t she have been turned into a cat or a doe (something Diana loves)? Celestial Cat, the Big Cat and the Small Cat, Cat licking its Paw, Cat napping (any cluster or stars looks like a fat cat napping) – even her name can be tweaked to include cat 😉

Dalinda: duped and physically/sexually abused (we’re beyond poor here),

Semele: duped and burned to death (don’t hate me because I’m beautiful!!!),

Morgana: duped and… it’s not clear what happens to her other than she gets back with her ex. But, yea, in that context poor PlatĂ©e, who’s only duped and humiliated in front of everybody who’s anybody is having it easy. So I think we need someone to get a PlatĂ©e together in London.

But at least these unfairly treated women have some great arias/potentially show stealing moments in their respective operas.

In less earnest news, the dry, sunny weather continues in London. I took a few more pictures of that touristy area1, so you can have visual reminders every time there’s a writeup about Wiggy/St George’s Hanover Sq.

as you exit the Oxford Circus tube station, the Palladium is down your first left on Argyll Street. (Still on Argyll St, going towards Maddox St) at the end of a side street on the right you can see the imposing Apple shop building. It’s a truly massive shop.


  1. After a long and tiring day at work, I took Wednesday off and went sightseeing in the city I’ve called home for the past 10 years; I tells ya, it’s never too late to get acquainted with the less visited rooms in your house. 

Theater an der Wien gets my approval once again

Yep, the new season looks Baroque/Hallenberg-fabulous.

Saul 16-27 Feb 2018 Arnold Schoenberg Choir ❀

Ottone, re di Germania 24 Sept 2017 Hallenberg

Giulio Cesare 18 Oct 2017 Galou + a very tempting cast in general with Dantone conducting

Publio Cornelio Scipione 24 Jan 2018 Sabata/Mynenko/MP

Giulietta e Romeo 27 Jan 2018 Hallenberg

Armida 21 Feb 2018 Jacobs conducting + Zorzi Giustiniani

Radamisto 20 April 2018 Bardon

There’s also a Maria Stuarda in January for those who enjoy Marlis Petersen (and the Arnold Schoenberg Choir). Could be a fun few days in the middle of winter…

Gorgeous Rodelinda (Teatro Real Madrid webcast, 31 March 2017)

duelling cembali!

How fitting for the Handel season – I found myself in the right place at the right time for this webcast (we used the medici.tv channel) and ended up having a very enjoyable watching party “with” thadieu and Agathe, based on Giulia’s report from the house (which you can read here if you haven’t yet; it’ll help make sense of what I’m only mentioning in passing). I’m not going into the whole thing because I don’t know Rodelinda enough but I wanted to share a few impressions:

  • what a (musically) wonderful opera! The perils of being exposed to the wrong singers/etc. come to mind when I think I’ve deprived myself of it for so long; lovely work from Bolton et all balancing the sweet mournfulness with the action
  • yes to the 5 countertenors but can Bejun Mehta spin a dulcet line or what? I was floored by Bertarido’s entrance aria. Looking forward to Gia dagli occhi… in 3 months’ time!
  • Eduige: more reasons to love Prina; seriously, the role works so well for her. Wish she had more to sing. She had some really fun things to do here, quite surprisingly considering it was a Guth production
  • speaking of Guth, I agree he doesn’t quite get the Baroque ethos, but I did enjoy the whole kid + nightmares part and the unexpected humour; the Personnenregie is always paid attention to in his work and it was here as well
  • I was further surprised how much I liked Lucy Crowe considering I’m not usually a fan. This was easily the best performance I’ve seen/heard from her.

no messing with the contralto 😉

Handel’s Alceste with singing lobsters (Wigmore Hall, 29 March 2017)

Whoever advertised this performance struck gold: this was one of the best attended shows I’ve ever witnessed at Wigmore Hall. Though the Colossus of Rhodes or the Pharos was planted firmly in the seat in front of me I couldn’t find a convenient seat to upgrade to without bothering someone. But the Pharos1 was very polite and self aware and leaned to the left (Tower of Pisa, then) – we were on the end seats – so I could actually see 2/3 of the stage, which included the singers and the bassoonist (yes, there was a tenor-bassoon duet!).

Mary Bevan soprano
Benjamin Hulett tenor
James Platt bass
Christian Curnyn director | Early Opera Company (Choir included)

George Frideric Handel (1685-1759)
Concerto Grosso in G major
William Boyce (1711-1779)
Excerpts from Solomon

Interval

George Frideric Handel
Alceste HWV45

Alceste is incidental music with a lot of contribution from the choir and in my case it proved incidental to a good nap. For whatever reason, perhaps because it started with the concerto and because I wasn’t familiar with the Boyce piece, I was lulled into this cocooned state of semi consciouness.

When Hulett and Bevan duetted I had that thought one sometimes entertains of what would an alien make of this if s/he/it dropped in. A bunch of people intently watching two other people on stage make tuneful oooo, aaaa sounds with others coaxing a slightly different kind of sound from wooden boxes of various shapes and sizes. But to what end? the alien might soon zero in to the crux of the matter. And a good explaination, judging by the rapt faces, may be to lull the people in attendence. Nefarious or farious, that would remain to be determined after further investigation. Might the alien subject itself to this experiment?

I don’t necessary recommend pursuing this train of thought too diligently, as I ended up dozing and incorporating the stage action in said flights into delta state. Case in point, when Hulett recited along the lines of …and he rose from below! with the choir rising from below/behind the harpsichord2 to deliver a hearty Handel part, I also rose, and an image similar to this flashed through my mind:

a fine substitute for a singing lobster choir! (click for a funny blog post that has nothing whatsoever to do with opera)

I was convinced the action was taking place at the bottom of the sea. Of course. It must be The Enchanted Island effect. You might think I’m being unnecessary silly but shouldn’t we be truthful about the effects of music on us?

The singers were fine. I remember Hulett as the Oronte from that very fine Alcina from Moscow. His tone is good for Handel but as you well know by now, I like more colour in the voice. Bevan sounded to me particularly mezzo-ish here, perhaps due to the rather low lying parts of what she had to sing and also the way she attacked the acuti. Platt has been someone I look forward to hearing since his very entertaining stint as Caronte in the 2015 ROH Orfeo. Here he sang with gusto and that burnished bass tone as well, both as part of the choir (his biggest part) and as a soloist. The orchestra – Baroque bows aplenty, solid bassoon action and very fun trumpet interventions – sounded velvety.

A while ago a blogger who specialises in London trails liked my post about ‘giardiniera where I talk at some length about South Ken/how to get to RCM. I thought it might be a good idea to take some pictures for readers possibly unfamiliar with London, pictures illustrating how I get to Wiggy or St George’s etc. (you can click for biger views)

once you exit the tube at Oxford Circus, you can reach Wiggy walking up ahead Oxford Street or making a right on Regent Street and then first left.

I like to pass through Cavendish Sq going towards the red building in the background. Your destination is across the grand building on the left. I enjoy a pre-opera snack in front of that funky bath shop


  1. It was only after I noticed the handy (or bummy?) cushion that I remembered the Pharos had sat in front of me before, but at a show where I upgraded to the right). Wiggy is the kind of place where you do end up seeing familiar faces after a while. 
  2. It’s always fun to see 20+ people crammed on the Wiggy stage. I see with pleasure that this trend continues to be joyfully pursued. 

Il complicated mondo di Faramondo (Britten Hall RCM, 25 March 2017)

With Faramondo we visit a more or less fictional moment from the history of Franks (Faramondo et Co.), Cimbrians (Gustavo’s people) and Swabians (Gernando’s baddies).

Before we start, I’ll direct you to Leander‘s elaborate writeup (with pictures!). You should also know that we saw the second cast (as customary, RCM fields two different teams on alternative days).

Faramondo King of the Franks: Kamilla Dunstan
Clotilde his sister: Amy Manford
Gustavo King of the Cimbrians: Julien Van Mellaerts
Rosimonda his daughter: Ashlyn Tymms
Adolfo his older son: Louise Fuller
Gernando King of the Swabians: Tom Scott-Cowell
Teobaldo Cimbrian general: Timothy Edlin
Childerico the real Sveno, Gustavo’s younger son: Eleanor Sanderson-Nash

Conductor: Laurence Cummings | London Handel Orchestra

I learned from Leander that Serse and Faramondo were written about the same time in late winter 1737. Faramondo was first performed on 3 January 1738. We can admire his work ethic and (maybe) forgive him for choosing a very shaggy (albeit popular at the time) libretto, a true smorgasboard of Baroque cliches as follows:

  • star crossed lovers
  • duty/love anxiety
  • angsty arias about ships mercilessly tossed about by waves and winds
  • honourable enemies/noble savages in this production
  • backstabbers ahoy
  • lecherous but kind hearted king/vacillating person in power

super bonus:

  • babies swapped at birth

For our pleasure confusion, Handel used a revised version of the original Zeno libretto that had about half of the recits removed. Case in point: 2/3 in, this chap Childerico shows up and acts like he’d been there all along but I can assure you he hadn’t. There is a very good reason (by this revised libretto’s standards) he was shoe-horned in. If we check wiki we learn he was originally sung by boy wonder and Handel protege William Savage, the kid who (during his boy soprano period) sang Oberto in Alcina. He sang alto when his voice broke (here) and finally went on to create a few bass roles for Handel. Makes you think of an all rounder football player with Handel as a shrewed coach 😉

Also upon checking wiki we learn that aside from the “dad” figure, the customary bass and the title role which went to Cafarelli, the other men and women were sung by women, with a mezzo (Rosimonda) and contralto (Gernando1) thrown in. The nice variation of female voices is one of the strengths of this opera.

Then come the downsides.

The music is pleasant enough though it never gets as memorable as Serse or other Handel operas we know and love. The libretto… everybody wants Gustavo’s position, but Gernando also wants his daughter, who doesn’t want him. Faramondo and Rosimonda like each other a lot but duty/honour comes first for the both of them. Teobaldo secretly wants Gustavo’s throne and had also swapped the babies around (Childerico and Sveno).

The whole thing goes pear-shaped when Sveno (raised by an unsuspecting Gustavo as his son) is killed by… somebody, with Faramondo taking the blame for it. Gustavo has another son called Adolfo, who is of course in love with Faramondo’s sister Clotilde (they’re a very Annio-Servilia type couple). He uses his father’s love for him to stop him every time (about every 15min) Gustavo wants to kill Faramondo/his kin. Things get more complicated as Gustavo has the hots for Clotilde and justifies pursuing his son’s gf by such gems as “I’m the king, you’re my underling so you have to relinquish her to me”.

Somehow the voice of reason in all this is Clotilde, who has some choice arias (at least 2 about being tossed by waves and winds) and perhaps because of this develops a driking problem in this production and seems totally nonplussed by the very cynical ending (the hitherto noble Faramondo, friend to all, casually hacks all the baddies during his last aria (and with the help of Rosimondo, who hands him several weapons).

Likewise, the star of the show was Manford as Clotilde, who showed excellent command of coloratura, very fine Handel style and an ideal voice for this repertoire. If she likes it she should definitely pursue it. I would love to see her as Morgana, she has the comic timing and tone for that role. Her scenes were the most exciting, not just because her direction was the most logical and detailed but also because of her very promising dramatic chops. Her moves did come off as a bit studied – but enthusiastically so – yet you could see a natural actress developing, who stayed in character even when she wasn’t at the centre of the action. By the end she had the audience in stitches.

Dunstan (you may remember her as Ariodante from last year) once again cut a fine figure as the hero and put on a solid vocal performance, with some fine projection and elaborate fioriture, though I admit I prefer her sensitive Ariodante.

Ashlyn Tymms’s lounge singer Rosimonda was one of this production’s better ideas. Much as I enjoy updated productions, sometimes, when very specific historical moments as involved it’s not esay to get into the vision. The lounge singer heroine isn’t an original take but it has time and again proved at least efficient (especially if one enjoys ’40s noir). Dramatically Tymms was also one of the better performers in a production where Personnenregie was erratic at best.

On the one hand we had Clotilde and Rosimonda’s clearly developed personas, on the other we had a pretty loosely designed Faramondo, charicature baddies and unclear Gustavo (is he just an upright chap succumbing to temptation in regards to Clotilde or is he creepy?) with bonus dramatically useless cheesy hanger-ons who pretty much clogged the stage when their bosses’ arias were being sung.

Anyway, Rosimonda is the kind of strong Baroque woman angstily2 bound by duty with “heavy hearted” arias that need a fuller voice, hence the mezzo designation. For whatever reason Tymms sounded to me like a dramatic soprano in the making but maybe she’s a Stephanie Blythe type of mezzo.

Gernando, sung by Scott-Cowell (last year’s Polinesso), was, Leander and I guessed, a schemer messed up on drugs (he sniffs glue/helium during his revenge aria, which is kind of odd but hey3). Once again Scott-Cowell was plagued by a silly unidimesional directorial choice, so it’s hard to gauge his dramatic skills. I thought his singing was fine, a clear improvement over last year.

London Handel Orchestra under Cummings generally did a commendable job accomodating the students’ speeds.

Given it was a very pleasant day and also because it was my first time at RCM since I moved, I actually gave myself plenty of time to get there. No Lamborghini sightings, but I realised it’s not the Scientology Church across the street from The Science Museum but the Mormon Church. So now you know. Also: at (my) leisure pace, the walk from the South Ken tube station to Britten Hall is 10min long.


  1. Though I thought the inclusion a countertenor Gernando worked well. Perhaps a countertenor with a better defined bottom (hey! not that one) might’ve worked even better. 
  2. It’s not tragic if it ends well. 
  3. If we’re going for aggressivity-inducing drugs, wouldn’t meth be the immediate choice? Or is this too American? 

Ormisda or DJ Handel at his finest (St George’s Hanover Sq, 28 March 2017)

Opera Settecento returned in top form with Handel’s 1730 pasticcio of arias from Vinci, Leo, Hasse, Orlandini and other Northern Italians with ethnically ambiguous names. Team London appreciated this year’s choice very much indeed.

Artenice: Marie Lys
Ormisda: John-Colyn Gyeantey
Arsace: Maria Ostroukhova
Erismeno: Nicholas Mogg
Palmira: Ciara Hendrick
Cosroe: Tom Verney
Musical Director: Leo Duarte | Opera Settecento

Tuesday was a lovely, warm day here in London so it was a pleasure to wander a bit in the Oxford Circus area, which is somewhere I go to often but only because it’s (also) the general neighbourhood of Wigmore Hall. Otherwise it’s a tourist Mecca – always crowded and 90% of the sights are clothes shops. The buildings are nice though, probably from Handel’s time.

Suffice to say I got there early and Leander (read her take on Ormisda here) and I pored over the libretto for clarification and a bit of chuckle at the 18th century translation (ruby lips, fine brows etc.). We noticed with some trepidation it was by the ubiquitous Apostolo Zeno, the very same poet who penned that jumble sale of plotlines called Faramondo (as well as many other equally questionable early 18th century libretti). We also tried to work out the storm arias judging by title.

So what is Ormisda about? I initially thought Ormisda was a woman, not having made the Ormuzd (and Ahriman) connection. It transpired he was the dad figure. Oh. His two sons are Cosroe and Arsace and his wife is Palmira. I clearly need to brush up on Persian history.

So, you wonder, why is that woman Artenice listed first? Well, it’s because Handel put this together for his star soprano Anna Maria Strada del PĂł. Artenice is an Armenian (I think) princess, due to marry whoever of Ormisda’s sons will take the throne. Palmira, as queens are often wont to do, is scheming to get her son Arsace as heir, although Cosroe is the first born.

As can be seen from the Moon, Artenice and Arsace will fall madly in love, regardless of right of way. She will sing many arias whilst he, as the second uommo, will sing only 3 (I don’t know if any were cut) but these three are as effective as Cherubino’s two in Le nozze.

Cosroe, as primo uomo sung by Senestino, also sings a lot of arias, but, as one familiar with Verney can glean, they are soulful ones that march on gentle sentiment. He does have a storm one later on but it’s not on the same level of drama (though I seem to remember the coloratura as very difficult) as Arsace’s. Then again, he does manage to get the throne, so he doesn’t have that much to be upset about. Generally speaking his performance was fine, with yours truly having an interesting perspective on his (very smooth) coloratura production from sitting right above him in the gallery.

Interestingly, consumate 18th century actress/contralto Antonia Merighi sang Palmira and baddie Gernando in Faramondo (as well as Amastre in Serse). Hendrick had a nice even tone but you could be fooled trying to figure out who was the scheming queen between the two women singing women. She was nice all around. I could’ve done with a bit of storming around on stage/general pissed off queen strut.

Lys as Artenice was one of the highlights of the evening. Her voice has the light tone and sparkling quality that works best with Baroque soprano roles. She’s in possession of a very coloratura and endurance, as she and Verney had the most arias. Her Artenice put some feistiness into her acting, so it wasn’t all just lovey-dovey with lovebird Arsace.

Which brings us to the secondo uommo, here sung by Ostroukhova, the woman who has made me love Cecca notte. Team London were waiting to hear some proper Baroque flights of angst and we were not disappointed. Arsace’s three arias go from irked to furious to energetic. Cooking with gas! Some may remember that Ostroukhova has a dark yet sonorous mezzo voice that seems specifically made for this kind of material. She tailored her phrasing for palpable drama and I’m pretty sure nobody was in doubt Arsace was very conflicted throughout. She also put a very fine effort into varying her fioriture for the repeats. Leander and I thought Ann Hallenberg would approve of this performance 🙂 Last but not least, Team London appreciated her 18th century pirate look 😉 We were in Handel’s parish church, after all.

What of Ormisda? Here he’s very much a nice chap who tries to calm down different sections within his household. His arias rely a lot on long held notes – as far as I remember, or perhaps this was indeed Gyeantey’s strength? He has a smooth tenor voice which I for one could really see in later Italian repertoire (Nemorino?). Mogg’s Erismeno was there for one reason or another (one needs a bass, eh?) and from his one aria I could glean a beautiful bass tone and very clear diction.

Opera Settecento and Leo Duarte put on another of their enthusiastic performances1. From my perch behind the singers I could hear them especially well, with the rhythm section, oboes (beautiful interventions) and the harpsichord in the first half and the string section in the second (a bit of seat swapping happened). Some of the arias had very nice melodic lines (and the bass aria (?) had a rather interesting rhythm), lovely carried by the orchestra, who, as usual, sounds very tight and up to date Baroque.

Thank you to all involved, it made for a wonderful evening of Baroque music in a Baroque environment.

ps: I noticed with relief that St George’s has updated the toilet situation as much as the premises allow.


  1. To the point someone broke a string before the intermission. 

Whimsical Partenope returns to kick off the Handel season (ENO, 17 March 2017)

You know what we/I haven’t had in a while? (A bit of semi-obscure) Handel! Since Gauvin’s recital at the end of January, to be precise. ENO has programmed their revival of the Award Winning 2008 production of Partenope to coincide with the usual time of the year when we celebrate the Grandmaster of the Baroque Formula.

I bought this ticket the day before the show, just before leaving for the Radvanovsky recital. Because 1) I bungled it when the tickets went on sale, 2) there was no way for me to attend this week’s performances no matter how I tried to cut it (and these days the situation at work is the sort where one should try to cut it as little as possible) and last but most importantly 3) this is a badass production, which kept niggling at the back of my mind (you’re not going to see that? Seriously? You’re not? And you call yourself an admirer of clever stylish silly ideas? It’s Handel, ffs! A Handel comedy!).

Oh, who am I kidding?! It all comes down to:

Like Radvanovsky was saying: I just like I was lucky to have quite a grand introduction to it, on my very first outing at Wigmore Hall. You should see my badass moves 😉 If I were a singer with a half decent coloratura this would be one of my audition/recital staples. By the end of it the audience would be bawling on each other’s shoulders. Or perhaps chuckling. But moved they would be. After about 30min on repeat (various versions) my musically inclined cat joined in with the coloratura 😀 that’s how much we love this aria at casa dehggi.

Partenope: Sarah Tynan
Emilio: Rupert Charlesworth (taking the entire season over from Robert Murray (indisposed))
Arsace: Patricia Bardon
Armindo: James Laing
Rosmira “Eurimene”: Stephanie Windsor-Lewis
Ormonte: Matthew Durkhan
Conductor: Christian Curnyn | Orchestra of the ENO
Director: Christopher Alden
Set designer: Andrew Lieberman
Costume designer: Jon Morell

In this production, the laddish Arsace, who sings the aria after being roasted by his jilted lover, brandishes about a bottle of something stiff but somehow does not smash it by the end. Dude! I’d like several (the entire stash) to smash to the coloratura.

“But what if Man Ray isn’t what turns you on? If your fancy isn’t taken by the erotic charge of a strategically positioned black triangle, or a prominent nipple in an expanse of flesh smoothed flat by the lens and viewpoint, or if the sight of a 1920s siren smoking through a long cigarette holder fails to excite? In that case, this production has little for you.” (Davin Karlin for Bachtrack on this revival of ENO/Opera Australia’s 2008 production of Partenope).

That’s the case with every production built on a schtick. Luckily, I get down with all of that, especially the siren bit, which Tynan rocks (is there anything more stylish than 1920s fashions? Nah.) It’s a sort of “flat” production, in the sense it’s all about posing rather than following a plot logically1 but then we’re talking Surrealist photography, Bauhaus and whatnot. Visual arts during Modernism made a point out of removing (or at least disrupting) the narrative.

How does this relate to Handel? Singers do silly things whilst singing but we’re reminded that singers in Handel’s time used to make the most of their limelight moments as well and the public was often engaged otherwise. People do silly things at moments of heightened emotion – and sometimes at regular times, too. Sometimes overthinking gets in the way of good fun.

Partenope the character is flirty but constant. She likes to be admired and friendzones men by the boatload. Arsace (her lover at the beginning of the opera) isn’t particularly flirty but as soon as “Eurimene” shows up he suddenly knows remembers he’s actually Rosmira, his hitherto fogotten ex. It’s a bit Alcina without the magic – or “for adults”. Case in point: we have the bonus of a mezzo making out with both the title soprano and another mezzo.

In the end Partenope rebounds with the shy guy and Rosmira gets her pretty man back after a satisfying bout of emotional torture (no hard feelings from Partenope, who is reasonable/together enough to know it’s all Arsace’s fault). Emilio – the enemy, who, in a short duet suavely sings he’d like to make Partenope his chattel – is added to the friendzone menagerie. So far so contemporary feminist.

The singing was constantly fine across the board though I can’t say it ever rose to stratospheric levels of emotion. Bardon has a very recognisable dark mezzo and here somehow outcountertenored Laing. She also showed what a bitch of an aria Furibondo… is. I remember someone on youtube commenting on a live recording of Scholl singing it how he for once prefers Daniels. Not fair comparing live to studio!

The reason why I love it is because Handel packs so much. You start on coloratura, then you have to vary projection, sometimes mid-phrase (= shouts of agitation), more coloratura, then you get to the B section, where I gather you add rubato to taste (I really liked what Horne did there on an almost melancholic agitata and the contrast with the very dark dol), because the rhythm is pretty much the same throughout – relentless and staccato.

Back to Bardon’s: it was good but not fabulous. I suppose there are many factors that go into this. People have criticised Curnyn’s approach as too fast in general, not giving singers breathers. I remember thinking during one of the slow Arsace arias that it could’ve been a tad faster. He did manage some very pretty interventions from the winds and assorted brass during Eurimene’s warlike aria2. Also the rhythm section deserves praise for keeping it tight throughout. It made me grin, thinking, ah, there’s nothing (in classical music) quite like Baroque to rock a solid rhythm.

But yes, perhaps Furibondo… was too fast. There were times (the shouty moments) when Bardon didn’t project as strongly as I would’ve expected – for whatever reason. I thought the role suited her otherwise, even though, like I said, I don’t remember her sounding quite so countertenorish before. Special mention: really nice job from Bardon on the movement-whilst-singing-a-male-character department.

photo from The Stage (click for review)

Tynan has the right voice and style for the role. All is needed is a bit of extra something to make it outstanding. Her interaction with her suitors and her Partenope persona were on the money throughout. I must commend the Personnenregie in general, very convincing in its details.

But in spite of the mezzo-soprano-mezzo estravaganza, Charlesworth’s Emilio stole the show this time. He took proper advantage of the silliness surrounding his character – the baddie, here a privacy stealing Man Ray – and seemed to have so much fun every time he was on stage that he drew the most attention and applause. It didn’t hurt that his diction was the best of the bunch and his pojection grand.

It was rather good fun – literally and figuratively – and really easy on the eyes. I’m glad I went last week, not after the Petibon concert (though I wish I’d’ve posted this before that concert, it would’ve read a lot more lively). Sitting in those tiny bum seats in the Balcony (economy) section between a Spanish couple and two Polish women I thought to myself how the ENO audience often seems like the most relaxed. ENO has the biggest opera-presenting hall in London yet it somehow feels very cosy (must be the tiny bum seats) and up there it feels almost as chummy as TEC.


  1. There is a plot and there is logic but that’s not central to this production. 
  2. That was the only time the music and the production didn’t flow together for me. The Bloomsbury atmosphere is so strong, the thought of actual war is jarring. 

Glyndebourne 2017 loot

Glyndebourne 2013

Glyndebourne 2013

Given that I haven’t been to Glyndebourne in a few years, I don’t know if this general booking system is new or not. In any case, you apparently can’t sneak in before the appointed time. Though I got in 14secs after 6pm, I was #622 in the queue. Luckily I was tag-teaming with Baroque Bird, who was in the 300s already. So Team London will be there for La clemenza di Tito on 31 July (Glyndebourne will broadcast the 3 August performance) and yours truly will see a couple more shows (Hipermestra and Hamlet in June plus another go at Tito in August). Let’s hope for clement weather 🙂

edit: we now have Annio (Anna StĂ©phany) and Publio (Clive Bayley). Interesting that StĂ©phany is Annio, seeing as how she’s already sung Sesto. But I do rather see her as Annio. You may remember I saw Bayley as Aye in Akhnaten last year and when I say saw I mean it. It’s going to be nice actually hearing him 😉