Προηγούμενες Κριτικές Παραγωγής
5Soprano Polly Ott is a fantastic communicator, simultaneously radiating the exuberance and vulnerability of a young teenage girl, with an alluring voice and perfect annunciation throughout.
Who would have thought ketchup and beans could feature so garishly in an opera or symbolise so much? In this new production of Greek, presented by Opera Ventures and Scottish Opera, Mark-Anthony Turnage’s contemporary classic is a triumph of imagination, staging and casting. Despite being his first opera (there has since been The Silver Tassie and Anna Nicole), Greek is an astonishingly assured work and, though it may no longer shock, it still packs a hefty emotional punch and deserves its place in the repertoire; a position conveniently sustained by its chamber scoring (eighteen players) and a quartet of vocal soloists. It was the quality of singing and acting that really left an indelible impression; Susan Bullock as a common and compassionate Mum, Andrew Shore as a warmly lyrical Dad (whose every move and facial expression commanded attention) and Alison Cook as Eddy’s real mum and lover whose aria lamenting the death of her abusive husband was matchless. Alex Otterburn (a recent graduate from the Royal Academy of Music) gave a performance of searing intensity as Eddy, singing with blazing conviction and inhabiting his uncouth and aspiring character with complete ease.
Given the two decades that divide its creation and the later revisions, Macbeth is far from a musically homogeneous work – something emphasised here as Noseda mixes liberally from the two versions. It’s a disparity that finds its visual analogue in the production. Scenes of high camp – jauntily marching soldiers and tumblers – contrast with moments of stark simplicity, particularly the act 4 opening chorus of exiled Scots lamenting the fate of their homeland. While there are some striking ideas: the crucifixion imagery following Duncan’s murder, there are also misjudgments: the automaton hospital beds following Lady Macbeth around during the sleepwalking scene. Given the two decades that divide its creation and the later revisions, Macbeth is far from a musically homogeneous work – something emphasised here as Noseda mixes liberally from the two versions. It’s a disparity that finds its visual analogue in the production. Scenes of high camp – jauntily marching soldiers and tumblers – contrast with moments of stark simplicity, particularly the act 4 opening chorus of exiled Scots lamenting the fate of their homeland. While there are some striking ideas: the crucifixion imagery following Duncan’s murder, there are also misjudgments: the automaton hospital beds following Lady Macbeth around during the sleepwalking scene.
Performing with sparkle and sway, the English Concert, under the baton of Canadian conductor Bernard Labadie, along with a stellar trio of soloists, gave a splendid concert performance of Gluck’s Orfeo and Euridice. Opening with a crisp sound, Labadie began with quick, nimble movements, before settling into a smoother style. There was an excellent balance between choir and orchestra, with both producing a rich, honeyed timbre. The chorus, as the furies, were almost shouting at the start of Act Two, while accompanied by rough and ready, striking string chords. Moving on the scene two, tinkling harp playing - used to represent Orfeo’s lyre - was softly accompanied by pizzicato strings, and the oboe playing in Orfeo's "Che puro ciel" was beautifully rounded. There was indeed - as per part of the aria’s translation -‘sweet, enchanting harmony’ displayed in the orchestra, with little bubbles and flourishes underpinned by a steady continuo.
In Edinburgh, this interpretation was strengthened by an astonishing central performance from Lithuanian soprano Asmik Grigorian. She captures the vulnerability and impetuosity of the young Tatyana, developing from initial awkwardness to throbbing, chest-beating emotionality in the letter scene. Allied with a voice that combines power and beauty, this is an utterly riveting performance, completed by her metamorphosis into self-possessed society beauty in the final act.
