Our opera-buddy group can turn into an echo chamber at times, hence Why other people love opera. In the interest of balance I thought I’d point out a couple of recent reviews that present the exact opposite view to mine:
Perception is a funny thing, innit?
16:40 – just sitting on the lawn, listening to Sarah Connolly warm up with… Idamante? Didn’t expect that one; in fact it took me a while to figure out why I should know the tune.
It’s not raining! And it’s not nearly as windy as last time. Lots of bees doing their thing to plants in many shades of purple.
20:45 – that was the most boring opera first half I’ve ever willingly gone to see in the house. About halfway through I gave up the fight against zzzs and napped in earnest. Somehow I managed not to drop my opera glasses. During the second half I did not sleep but I entertained myself by trying to figure out ways to get Vitellia1 to lose some weight.
TO NAP OR NOT TO NAP
If you’re curious, Glyndebourne live streams it on 6 July, but for my £15 it was deadly dull, both at orchestra level and vocally. The singers did their job commendably when there was something for them to tackle. Give me Anna Nicole any day. At least that one is unabashedly pop and has fun with its idiom.
This is pretentious yet unimaginative. It pulls out all the boring contemporary opera tricks and none of the interesting stuff – like some unusual orchestration, interesting instruments, some sort of rhythmic inventiveness – or whatever they’re supposed to do so as not to repeat the past. The singing is pretty much Sprechgesang (the kind I pull out to liven up daily chores) peppered with ambulance siren ensembles2 and sort of arias, obviously to wake up the people lulled to sleep by the very serious dullness.
The sort of aria I have in mind is Ophelia’s, undoubtedly an homage to the mad scenes of yore, which, in this case and production is Zerbinetta having a breakdown. Poor Babs Hannigan, they had her jump around like a gymnast, throw herself and writhe on the floor, jump on someone’s back – the works, I suppose, of what posh women are expected to do when they’re having a manic episode. It’s also obviously hard to sing and she coped very well (because we know she likes this sort of thing, jumping around included) – but remember what Richard Croft said in the interview I posted the other day, it’s very hard to be spotless vocally with this kind of stuff and dramatically moving at the same time. I’m really glad now that I saw her in Written on Skin, where she got to be emotionally expressive; even though I’m not its biggest fan, that was a much more enjoyable experience all around.
Connolly and Tomlinson wasted their time with this, as far as I’m concerned. Il padre adorato was my favourite bit from her all night, glad I kept near the building where she was warming up 🙂 Allan Clayton in the title role put a lot of effort into it but I’ve never heard a more boring main part in an opera before. I can’t remember anything; based on just this, I find it impossible to judge his singing skills. I’m also not sure why they gave him a bushy beard that made him look like an extra from Boris Godunov.
The point of it all seemed to be staying as close to the play as possible, so we got all the famous lines, sometimes more than once and by different characters. Playing with what has penetrated popular culture to the point of cliche is fine if you do it cleverly. Not the case here. Just having The Ghost/Gravedigger say “to be or not to be” and wink is kind of har.har. Hamlet actually says “the rest is silence” as he’s expiring which almost made me chuckle. Surely you didn’t need that?! Especially as Horatio was just going on about how singing angels will guide him to his resting place. It’s like “oy, Horatio, I don’t need no stinkin’ angels! This is not the 1800s”. Are we supposed to laugh or are we supposed to be navel gazing?
As per Rupert Christiansen, “Neil Armfield’s effective and unassertive production is inoffensively updated to a modern setting”, which in my translation means it’s just there. They have these side windows at some point which I swear they recycled from that scene in Le nozze di Figaro where Cherubino has to jump out the window (though upon checking it looks more like th ROH production windows – but that kind nonetheless).
As a conclusion I think from now on I will 1) not allow myself fly off just because the cast looks brilliant, 2) avoid Brett Dean stuff.
On the upside, for that £15 I actually got to sit down in a central seat in the upper amphi, which is probably quite rare at Glyndebourne. Also the day progressed into very pleasant come the interval, so I just lay down in the grass and watched the clouds, which is another thing I don’t get to do often enough.
On the bus I chatted with a woman from NYC (not originally) who was visiting London and decided to come to Glyndebourne on her own when her friends balked out. How commendable! After the interval a seatmate thought to make conversation:
Chap (cheerfully): So how do you like the opera?
Dehggi: I think it’s terrible.
Chap (taken aback): Really? In what way?
Dehggi: I couldn’t get into neither the orchestral part or the singing.
Chap (turns around and starts talking to someone else).
Said chap was also a woop! woop! shouter and had this slow and emphatic way of clapping, as if he was sarcastic only I’m pretty sure he wasn’t. The claps were particularly loud, each clap like a gunshot. And when it was time to leave, he and his buddy cheerfully stopped dead at the end of the row, effectively blocking everyone else’s way. Clearly he liked it. The rest of us had a bus to catch and Glyndebourne is too lovely a place to leave in a hurry, especially on a balmy night, when it’s not quite dark.
- cat ;-) ↩
- Rupert Christiansen thinks “Dean is rare among contemporary opera composers in understanding how to present people singing together” but to me it sounded exactly as boring as most contemporary attempts at just that – people singing at such intervals as to cancel each other’s efforts and end up sounding like the din of the schoolyard. I mean, by all means don’t reinvent The Anvil Chorus but if I wantedto listen to a schoolyard ensemble I’d open the window. But read his review because maybe you don’t need to take my word for it. ↩
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 Stéphany) and Publio (Clive Bayley). Interesting that Stéphany 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 😉
Important: next year, General ticket sale will start at the unusual hour of 6pm on Sunday, 5 March. They really want to keep us at home on a Sunday afternoon.
- Hipermestra (Cavalli) 20 May – 8 July (new production)
Conductor/ Orchestra: William Christie | Orchestra of the Age of Enlightenment
Emöke Baráth takes the title role.
- La traviata 21 May – 19 June and again (different cast/conductor) 1 – 27 August
Kristina Mkhitaryan and Joyce El-Khoury take the title role.
- Hamlet (Brett Dean) 11 June – 16 July (new commission)
Conductor/ Orchestra: V. Jurowski | London Philharmonic Orchestra
Cast: Allan Clayton (Hamlet), Sarah Connolly (Gertrude), Barbara Hannigan (Ophelia), Rod Gilfry (Claudius), Kim Begley (Polonius), John Tomlinson (Ghost of Old Hamlet)
Badass cast, I wonder about the music.
- Ariadne auf Naxos 25 June – 27 July
Conductor/ Orchestra: Cornelius Meister | London Philharmonic Orchestra
2015 Operalia Winner Lise Davidsen takes the title role. So young and already Ariadne! I am as usual tempted to go but…
- Don Pasquale 13 July – 23 August
Conductor/ Orchestra: Giacomo Sagripanti | London Philharmonic Orchestra
- La clemenza di Tito 26 July – 26 August (new production)
Conductor/ Orchestra: R. Ticciati | Orchestra of the Age of Enlightenment
Tito: Steve Davislim
Vitellia: Alice Coote
Sesto: Kate Lindsey
Servilia: Joélle Harvey
Leander and I have already talked about picnic-ing for this one (and probably Hipermestra as well). Anyone who wants to join us is more than welcome!