In the latest offering from the world of grand opera, The Arts Desk pick out Puccini and Carl Maria von Weber as the star performers.
The penultimate night of the BBC Proms was devoted to the astonishing grand opera 'Der Freischtz' by Carl Maria von Weber, rather than the traditional Beethoven's Ninth. The piece enjoys an impressive reputation but a slightly less grand performance history and was hugely influential in the 19th century with its dark, dramatic Gothicism.
The great classical archaeologist Sir John Eliot Gardiner and his Orchestre Rvolutionnaire et Romantique performed a semi-staged version here, using the score rearranged by Berlioz. The semi-staging was lacking in this respect, but the music is so energetic, so attention-seeking, so packed with masterful orchestration that it did not matter.
Home to Puccini's masterpiece - his triptych of one-act operas, 'Il Trittico' - the Royal Opera House proved that for impressive opera London is the place to be. Together 'Suor Angelica', 'Il tabarro' and 'Gianni Schicchi' follow a loose trajectory from hell through purgatory to paradise. Full of orchestral magic and tough choral writing, they form an emotional roller-coaster.
The production was helped by the winning partnership of Royal Opera principal conductor Antonio Pappano and maverick director Richard Jones. There were plenty of weepy moments, thanks to Pappano's detailed conducting and the masterstroke by Jones of setting the piece in a children's hospital.
In 'Il tabarro', Eva-Maria Westbroek overplayed the trashy element of Giorgetta, while Lucio Gallo was not quite hoary enough as the resentful Michele in this grim take on Parisian barge life. The perfect line-up was present in the ensemble comedy that is 'Gianni Schicchi', which was kept sharp and detailed. The comic timing of Puccini was maximised to the full and the opera house setting had the audience laughing more than ever before.
The penultimate night of the BBC Proms was devoted to the astonishing grand opera 'Der Freischtz' by Carl Maria von Weber, rather than the traditional Beethoven's Ninth. The piece enjoys an impressive reputation but a slightly less grand performance history and was hugely influential in the 19th century with its dark, dramatic Gothicism.
The great classical archaeologist Sir John Eliot Gardiner and his Orchestre Rvolutionnaire et Romantique performed a semi-staged version here, using the score rearranged by Berlioz. The semi-staging was lacking in this respect, but the music is so energetic, so attention-seeking, so packed with masterful orchestration that it did not matter.
Home to Puccini's masterpiece - his triptych of one-act operas, 'Il Trittico' - the Royal Opera House proved that for impressive opera London is the place to be. Together 'Suor Angelica', 'Il tabarro' and 'Gianni Schicchi' follow a loose trajectory from hell through purgatory to paradise. Full of orchestral magic and tough choral writing, they form an emotional roller-coaster.
The production was helped by the winning partnership of Royal Opera principal conductor Antonio Pappano and maverick director Richard Jones. There were plenty of weepy moments, thanks to Pappano's detailed conducting and the masterstroke by Jones of setting the piece in a children's hospital.
In 'Il tabarro', Eva-Maria Westbroek overplayed the trashy element of Giorgetta, while Lucio Gallo was not quite hoary enough as the resentful Michele in this grim take on Parisian barge life. The perfect line-up was present in the ensemble comedy that is 'Gianni Schicchi', which was kept sharp and detailed. The comic timing of Puccini was maximised to the full and the opera house setting had the audience laughing more than ever before.
About the Author:
Steve Alexander enjoys writing about the arts world. For more information on grand opera in London, as well as the latest overnight reviews, visit theartsdesk.com.
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