The grand opera world provides a variety of offerings this week, from grand opera on a small scale to Victorian melodrama to a neglected 20th century gem.
In David Nice's opera review of 'The Passenger' by the English National Opera, he was full of praise for all involved. Excellent performances were on show by Polish-born Mieczyslaw Weinberg, Polish novelist Zofia Posmysz and the production team itself. The production is carried by the strength of the performances and Nice claimed that the voice of Michelle Breedt is the finest he had ever heard at ENO.
The Roses Theatre, Tewksbury hosted Mid Wales Opera's production of Puccini's 'Madam Butterfly', which exemplified both the pluses and the minuses of opera delivered by small touring companies such as this one. Among other things, its need for just one set in this grand opera lends itself well to the limitations that come with it. The staging difficulties the production was faced with are easily overcome, as it achieves a nuanced and moving piece.
Gounod's Victorian melodrama 'Faust' at the Royal Opera House had Igor Toronyi-Lalic unexpectedly moved to tears. The staging and theatricals were kept wonderfully simple by David McVicar, which added to the success of the production as it retained maximum potency.
The production is set in the French Second Empire, with three exciting male leads enlivening the first two acts. Vittorio Grigolo plays the ageing Faust, Ren Pap is the dark devious Mephistopheles and Dmitri Hvorostovsky's plays the silky Valentin. Toronyi-Lalic was so impressed with Grigolo he thought he even outshone the pitch-perfect Angela Gheorghiu as Marguerite who unusually floundered slightly here.
Together, the team raised this piece from the realms of soap opera into something with significant depth and thought and conductor Evelino Pid made the audience feel like they were watching a Moulin Rouge cabaret.
In David Nice's opera review of 'The Passenger' by the English National Opera, he was full of praise for all involved. Excellent performances were on show by Polish-born Mieczyslaw Weinberg, Polish novelist Zofia Posmysz and the production team itself. The production is carried by the strength of the performances and Nice claimed that the voice of Michelle Breedt is the finest he had ever heard at ENO.
The Roses Theatre, Tewksbury hosted Mid Wales Opera's production of Puccini's 'Madam Butterfly', which exemplified both the pluses and the minuses of opera delivered by small touring companies such as this one. Among other things, its need for just one set in this grand opera lends itself well to the limitations that come with it. The staging difficulties the production was faced with are easily overcome, as it achieves a nuanced and moving piece.
Gounod's Victorian melodrama 'Faust' at the Royal Opera House had Igor Toronyi-Lalic unexpectedly moved to tears. The staging and theatricals were kept wonderfully simple by David McVicar, which added to the success of the production as it retained maximum potency.
The production is set in the French Second Empire, with three exciting male leads enlivening the first two acts. Vittorio Grigolo plays the ageing Faust, Ren Pap is the dark devious Mephistopheles and Dmitri Hvorostovsky's plays the silky Valentin. Toronyi-Lalic was so impressed with Grigolo he thought he even outshone the pitch-perfect Angela Gheorghiu as Marguerite who unusually floundered slightly here.
Together, the team raised this piece from the realms of soap opera into something with significant depth and thought and conductor Evelino Pid made the audience feel like they were watching a Moulin Rouge cabaret.
About the Author:
Steve Alexander enjoys writing about the latest grand opera performances in London. For the latest news from the world of grand opera, visit theartsdesk.com.
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