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toscas_kissDie Zauberflote by Mozart
The Royal Opera, Royal Opera House, London, Tuesday 1st July
Altogether I thought this a stylish and lively performance - funny, entertaining and well worth attending.
The costumes were a curious mix of Venetian Renaissance, European 1700's and modern, but had been well thought out in regards to the purpose of the character wearing them. Sarastro's gorgeous crimson and gold embroidered Renaissance overgown was especially impressive. The staging mostly consisted of dark Gothic settings of walls and columns, with semi-abstract trees for the forest. I wasn't enthralled, but for the most part they were fairly innocuous. There was one setting that somewhat amused me - the inside of the Initiate's Temple of Enlightenment, which had huge walls of writing between the Gothic collanades and an enormous piercing eye as a backdrop. Very "Welcome to the Illuminati"!
The staging effects were cleverly and interestingly done, including the use of trapdoors in the floor and walls. There was a flying carriage for the Three Boys, made of wood with giant flapping eagle's wings and a tail, rather like something from The Adventures of Baron Humperdinck. The giant snake and the magical animals were portrayed by dancers in plain dark 1700s dress, carrying a huge puppet and wearing animal masks which were leather and beautifully made - I was especially entertained by the two buzzards on stilts.
The orchestra was in excellent form as always, and the conductor, Phillipe Jordan, quite interesting to watch for the difference in style to the conductor I usually get, Vasko Vassilev, who is also joint Concert Master of the ROH orchestra.
The chorus and leads were all in good voice, although I didn't particularly care for the Sarastro (Alfred Reiter). Simon Keenlyside made an excellent comic Papageno, and used his body language and agility to full advantage to make the audience laugh. Camilla Tilling as Pamina surprised and delighted me with the sweetness and honey-like warmth of her voice. It wasn't light or thin as too many sopranos tend to be.
Initially I wasn't particularly struck with Elena Mosuc's portrayal of The Queen of the Night, until she came to the "Revenge" aria. This is a coloratura aria, i.e. one with rapid scales and arpeggios in the voice, and a particularly difficult one. And I must say, she was wonderful. She delivered it with speed, volume and no hesitation in a clear, bell-like voice. It was a truly beautiful rendition and impressed me greatly. Definitely the high point of the opera for me.
This was actually the performance of Die Zauberflote the BBC filmed for this season, so you too will eventually be able to view it!
The Royal Opera, Royal Opera House, London, Tuesday 1st July
Altogether I thought this a stylish and lively performance - funny, entertaining and well worth attending.
The costumes were a curious mix of Venetian Renaissance, European 1700's and modern, but had been well thought out in regards to the purpose of the character wearing them. Sarastro's gorgeous crimson and gold embroidered Renaissance overgown was especially impressive. The staging mostly consisted of dark Gothic settings of walls and columns, with semi-abstract trees for the forest. I wasn't enthralled, but for the most part they were fairly innocuous. There was one setting that somewhat amused me - the inside of the Initiate's Temple of Enlightenment, which had huge walls of writing between the Gothic collanades and an enormous piercing eye as a backdrop. Very "Welcome to the Illuminati"!
The staging effects were cleverly and interestingly done, including the use of trapdoors in the floor and walls. There was a flying carriage for the Three Boys, made of wood with giant flapping eagle's wings and a tail, rather like something from The Adventures of Baron Humperdinck. The giant snake and the magical animals were portrayed by dancers in plain dark 1700s dress, carrying a huge puppet and wearing animal masks which were leather and beautifully made - I was especially entertained by the two buzzards on stilts.
The orchestra was in excellent form as always, and the conductor, Phillipe Jordan, quite interesting to watch for the difference in style to the conductor I usually get, Vasko Vassilev, who is also joint Concert Master of the ROH orchestra.
The chorus and leads were all in good voice, although I didn't particularly care for the Sarastro (Alfred Reiter). Simon Keenlyside made an excellent comic Papageno, and used his body language and agility to full advantage to make the audience laugh. Camilla Tilling as Pamina surprised and delighted me with the sweetness and honey-like warmth of her voice. It wasn't light or thin as too many sopranos tend to be.
Initially I wasn't particularly struck with Elena Mosuc's portrayal of The Queen of the Night, until she came to the "Revenge" aria. This is a coloratura aria, i.e. one with rapid scales and arpeggios in the voice, and a particularly difficult one. And I must say, she was wonderful. She delivered it with speed, volume and no hesitation in a clear, bell-like voice. It was a truly beautiful rendition and impressed me greatly. Definitely the high point of the opera for me.
This was actually the performance of Die Zauberflote the BBC filmed for this season, so you too will eventually be able to view it!
