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14McCrystal has no inhibitions about hamming everything up to the max, given a huge leg up by designer Paul Brown – it’s so sad that Brown died in November, robbing him of the chance to see his work made real. Brown’s sets and costumes are beautifully executed, a riot of colour and fun, and difficulties like “how to turn a bunch of not exactly young and sylph-like chorus members into sweetly tripping fairies” are handled with panache. Stagecraft is nothing short of superb: the sheer amount of movement from the chorus is jaw-dropping, and there is exuberant use of things like people flying above the stage or the random apparition of animal puppets (check out the Fairy Queen’s use of the unicorn’s horn). McCrystal can’t resist putting in a bunch of additional gags, many of them visual but some spoken: the vast majority of them worked, with the audience in stitches.
Les costumes victoriens sont très colorés et fantaisistes et le décor composé par de très poétiques toiles peintes à l’ancienne pour les scènes d’extérieur est parfaitement efficace. Ils sont dus à Paul Brown, un décorateur très prisé au Royaume-Uni, disparu peu avant le début de cette production. Un bain de bonne humeur et d’humour très singulier (le fameux humour camp) apte à réconcilier avec ce genre si particulier ceux qui pensent qu’il n’est guère exportable.
Le chœur d’adultes et d’enfants de l’English National Opera se réunit, soudé, entraînant et solidaire sur scène. Le résultat vocal est joyeux et rassurant. Enfin, l’orchestre symphonique, dirigé par la cheffe italienne Valentina Peleggi, dynamise et propulse dans la musique de Bizet dès l'ouverture brillante, à travers ce sombre et cruel road-tripe espagnol.
Driving the drama is ENO Mackerras Fellow Valentina Peleggi. Her conducting is dynamic yet detailed; rarely if ever at ENO have the lines of the orchestral contribution been so finely honed, and the orchestra clearly loves her, on top form throughout. Chiselled rhythms, a full realisation of the colourful orchestration, a deep grasp of the ongoing dramatic thrust were all in evidence, as was a willingness to relax into the lyricism where appropriate (as in the José/Micaëla passages in the first act around what in French would have been ‘Parle-moi de ma mère’); and now the run has settled in, ensemble problems were minimal. The wonderfully reedy bassoon at the beginning of the second act particularly merits mention.
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Calling for a large cast coupled with a large orchestra and chorus getting a production of War and Peace off the ground is a mammoth undertaking for any opera company, so well done WNO for achieving such a feat and, indeed, for Sir David Pountney - who’s now preparing a new Ring cycle for Chicago’s Lyric Opera next year - for delivering such a colourful and, indeed, rewarding account of Prokofiev’s masterpiece which duly ended his nine-year tenure with the company. Mounted in association with Theater Magdeburg and first seen at Cardiff’s Millennium Centre in 2018, Pountney’s staging proved a minimalist affair while WNO’s Czech-born music director, Tomáš Hanus, brilliantly conducted the Welsh National Opera Orchestra in a performing version influenced by Katya Ermolaeva and Rita McAllister’s research reconstructing Prokofiev’s original intentions for the opera whilst still including some of the later additions such as the Act I waltz. A well-cast production, the role of Natasha Rostova was admirably sung by Lauren Michelle who made her WNO début in a stunning performance as Jessica in the 2016 production of André Tchaikowsky’s The Merchant of Venice while Jonathan McGovern (making his WNO début) delivered a confident and assured performance as Prince Andrei Bolkonsky. WNO regular, Mark Le Brocq - well-loved for his previous roles with the company appearing in Leoš Janáček’s From the House of the Dead, Alban Berg’s Lulu and The Merchant of Venice - put in a salutary performance as Count Pierre Bezukhov, looking the part from head to foot. They were a force to be reckoned with. Malcolm Rippeth’s atmospheric and moody lighting proved spectacular and realistic, too, while Marie-Jeanne Lecca - a long-standing creative partner of Sir David Pountney - came up with a formidable wardrobe that was a feast for the eyes especially the uniform for Jonathan May’s eccentric portrayal of Old Prince Bolkonsky who radiantly sang a lovely and nostalgic song praising his homeland. Really, I don’t think he would have looked out of place as a follower of the Kaiser Chiefs! As a curtain-raiser while the orchestra was tuning up, a character in the guise of Tolstoy dressed all in white sporting a long-white beard was seen working at his desk with a white-quilled pen writing his famous story with his Cyrillic script projected on a screen above him whilst the characters contained within the story - peasants, military, aristocrats and so forth - came together one by one merging on stage into an impressive statuesque formation before leading into the opening chorus that speaks of heroism and Mother Russia. And hats off to Welsh National Opera Chorus, so well-trained by Stephen Harris. But Sir David Pountney has the last word. He really has to: ‘War and Peace is one of the most famously demanding of operatic scores deploying massed choruses and a huge gallery of small roles to give authenticity to the great national drama of war and survival that it depicts. It is a superb showcase for WNO’s justly-famous chorus and for a company which prides itself on collective excellence.
Sung in English War and Peace might have been, but a nice touch was to have the work title in Cyrillic on the spine of the booklet. The surtitles did not always match exactly what was sung, which is slightly disconcerting if we are actually hearing the work in the vernacular. And that is basically getting the criticism out of the way: this was a spectacularly successful evening. Sir David Pountney’s production is vast in the scope of its imagination; aptly, as the chorus (and list of participants) is huge. The ‘Epigraph’ is here the first scene – most usually heard as the introduction to the ‘War’ scenes. The Russian people prepare to defend themselves: fervently patriotically, as one might expect. The sheer fortissimo, dissonant force is overwhelming in this production. The WNO chorus is in fine fettle, repeatedly revealing heft and huge enthusiasm for the dramaturgical thrust, while unleashing its partying side in the Ball. The stage is essentially static, with a semicircular wooden structure containing the on-stage action and projections towards the back. The projections include film excerpts from Sergei Bondarchuk’s 1966 film of the Tolstoy, but also, amongst many others, fabulous invocations of the atmosphere of a Russian Ball and a miraculous invocation of the fire of Moscow burning. It is clearly impossible to go into each and every soloist given the roster of singers. But it would be unfair not to admire David Stout’s fine, rich voice in the part of Dolukov (and Denisov, and Napoleon, and Raevsky). Whichever hat he was wearing, he excelled. He apparently has specialised in the role of Figaro, and also starred in WNO’s Figaro Gets a Divorce by the excellent composer Elena Langer. Simon Bailey’s Kutuzov, too, is astonishing, his soliloquy absolutely gripping vocally, musically and dramatically. Brno-born conductor Tomáš Hanus (who has taken WNO to his hometown, in fact) conducts with drive, yet can give the music space when required. The orchestra is extraordinarily well-trained, and one has to acknowledge, too, the sheer stamina, not least from the brass, sounding as fresh at the close as in that shattering opening chorus. Hanus responds beautifully to Prokofiev’s weaving of the tale, moving easily between spectacle and whispered statement, marshalling the huge choral moments with ease. WNO’s evening was a salutary reminder of the sheer power of Prokofiev’s magnificent score. It has been a good week for opera, what with Opera Holland Park’s L’arlesiana and the Wolf-Ferrari/Tchaikovsky evening. And what a way to crown it.
