Past Production Reviews
4McCrystal 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.
Uzbekistani tenor Mavlyanov made his Royal Opera debut tonight as Cavaradossi with no obvious show of nerves: his first aria Recondita Armonia was cool and composed, and his E lucevan le stelle in the final chapter displayed an impressive balance of tender warmth and burning passion. However, Frontali’s interpretation of the menacing Scarpia fell flat as the choral and orchestral forces were asked to save the grandeur of the Act 1 Finale, but his villainous affair with Tosca did revive his performance later on. A character of many faces, experienced soprano Echalaz embraced the melodramatic personality of Tosca in sublime fashion: from the opening jealousy-induced comedy and flirtatious dialogue with Cavaradossi to the breathtakingly poignant aria Vissi d’arte and graceful second act duets. Echalaz’s acting was as compelling as her voice, as she sealed Tosca’s tragic fate with a dignified leap from the walls of the Castel Sant’Angelo. Credit should also be given to the ROH Orchestra. Under the baton of Villaume, the orchestra provided a sensitive and equally passionate musical backdrop, from the blazing opening chords, the thunderous string unison force that marked the death of Scarpia, the graceful woodwind colours, the notable clarinet melody heartening Cavaradossi’s final act romanza and the strident forte brass in the catastrophic conclusion. The mix of rousing drama, inevitable tragedy and an opulent musical orchestration full of exquisite melodies, rich harmonies and textures left the capacity audience moved by Puccini’s operatic achievement.
