Past Production Reviews
11That performances of Les Troyens, with its enormous cast, are an ‘event’ goes without saying but with a cast as starry as tonight’s, expectations were stratospheric. The Strasbourgeois assembled 350 performers tonight – a super-sized orchestra, including six harps, numerous off-stage bands, sixteen soloists and three choruses, including one placed off-stage and, at times, in the auditorium. It was an especially nice touch to invite the chorus of the Karlsruhe opera, where Berlioz’ magnum opus was first performed complete, to participate. Tonight’s performance, and a second on Monday, were recorded for Erato for release in due course.
Perfect ensembles and recits with Antonio Pappano's return as conductor and fortepianist
Mostly steering clear of recent developments in sexual politics, David McVicar's production leaves us to marvel afresh at Mozart’s genius
The various supporting roles came in the names of Jennifer France, Krisztina Szabó and Andri Björn Róbertsson, all of excellent level where the latter managed to change himself to a madman
Bass-baritone Andri Björn Róbertsson as Witness 3 and an excellent personification of the Madman
Anita Hartig and Ellie Dehn share similar voice types, which makes their fourth-act shenanigans when Susanna and the Countess swap identities more convincing than usual. Each has a feather-light timbre – indeed, there were moments in "Dove sono" when Dehn's could have done with guy ropes to weigh it down – and they bring such airiness to their big duet, "Sull'aria", that they all but waft away on the breeze. The scene stealer in this revival is Heather Engebretson as Barbarina, who peeps in like a schoolgirl then pipes up like a diva. The young American is a name to watch and a perfect partner for Kate Lindsey's gangling, hopelessly priapic Cherubino. Of the opera's other comic roles, the great mezzo Ann Murray is on her best vinegary form as Marcellina, but the Bartolo and Basilio of Carlo Lepore and Krystian Adam are a touch under-characterised. Ivor Bolton conducts a ROH Orchestra composed of stay-at-homes from the company's Japanese tour, no doubt bolstered by deps, but the standard is as high as one would expect of a band bearing the house name. Despite some fastish tempo choices, matters are mostly (but not invariably) secure between pit and stage, so Mozart carries the day and bliss is king.
Frédéric Antoun overlaadt ons daarentegen met tenorale finesse. De Canadees belichaamt de jonge held Pylade zowel scenisch als vocaal volledig geloofwaardig.
