Rusalka (Royal Opera)
Verdict: Three cheers for Dvorak
Judgement: *****
The Rhine Gold (English National Opera)
Verdict: A Bronx cheer for Wagner
Judgement: ***
This was only the ninth Covent Garden performance of that great melodist and arranger Antonin Dvorak’s most magical opera – let’s hope it’s here to stay.
A fine production by Natalie Abrahami and Ann Yee highlights the magic and early ecological message in the tragedy of the naiad Rusalka – in Act 3 her lake is polluted, her forest destroyed. For the first time, the Royal Opera program brochure is printed on recycled paper!
Asmik Grigorian in the title role could not appear at the dress rehearsal and was almost back in her best shape and sang beautifully, not least in the famous Song to the Moon. Her entire portrayal rang true as she betrayed her true nature by falling in love with a human prince, only to be betrayed in turn.
David Butt Philip’s (right) voice may not be the sweetest, but it generates quite a bit of power and makes the fickle Prince believable, especially in the duet that closes the opera
This was only the ninth performance at Covent Garden of the most magical opera by that great melodist and arranger Antonin Dvorak – let’s hope it’s here to stay
David Butt Philip’s voice may not be the most honeyed, but it generates quite a bit of power and makes the fickle Prince believable, especially in the duet that closes the opera.
As the third corner of the triangle, foreign princess Emma Bell is quite ruthless.
I’m afraid we’ve heard best from Sarah Connolly, whose tone is showing signs of wear, but she’s a strident witch.
As the Water Sprite, Rusalka’s father chasing the action, Aleksei Isaev is a baritone rather than a bass, but sonorous enough. There is not one Czech in the cast, but the language coaches did a good job.
Semyon Bychkov conducts superbly and the choristers and musicians revel in Dvorak’s music — the brilliant harpist Emma Granger deserves a special mention
I enjoyed Chloe Lamford’s sets and Annemarie Woods’ costumes and found the reference to 1920s cartoons in Ann Yee’s Act 2 choreography hilarious – she’s equally successful with the dryads and naiads in Acts 1 and 3.
Semyon Bychkov conducts superbly and the choristers and musicians revel in Dvorak’s music – the brilliant harpist Emma Granger deserves a special mention.
Meanwhile, at the Colosseum is the most footballing, clumsy, clumsy Wagner production I’ve come across: part of ENO’s Ring cycle entrusted to the Opera Joker, Richard Jones.
At least it clarifies where Valhalla, home of the gods, is located – it’s obviously in Basildon.
The Rhine Maidens and Alberich show up for the gym dressed and Stewart Laing’s designs don’t get any better.
At the Colosseum is the most footballing, clumsy, clumsy Wagner production I’ve come across: part of ENO’s Ring cycle entrusted to the Opera Joker, Richard Jones
The Rhine Maidens and Alberich show up for the gym dressed and Stewart Laing’s designs don’t get any better
Under the circumstances, is it worth noting that most of the vocals are pretty good?
The two giants are extremely harmless – John Relyea’s imposing Wotan towers over them – and the Nibelungs wouldn’t frighten a cat. The gold is mass produced in what appears to be a bakery.
Of course there is laughter, but is that what Wagner meant? Did he mean that Loge, the god of fire, should make camp? Unfortunately, under Martyn Brabbins, the musical side is also lightweight and by the time the gods finally barricade themselves in a bank vault in Essex, I don’t care anymore.
Under the circumstances, is it worth noting that most of the vocals are pretty good?
If this is ENO’s response to those wanting to move them out of the capital, it’s a weird advertisement indeed.