Gyula Nagy / Recensioner

★★★★★ “Of the moment, full of character and rich in variety, these short filmed operas by 20 Irish composers and top performers are exemplary lockdown music-making” - The Guardian

International opera houses such as Covent Garden need fail-safe productions of works that feature in most seasons, in which multiple casts can be accommodated as unfussily as possible. Now eight years old, and in its fourth reincarnation, Patrice Caurier and Moshe Leiser's staging of Madama Butterfly has, surprisingly perhaps, evolved into one of those dependables. Over the years, much of the kitsch that characterised it when new seems to have been quietly abandoned, although traces remain: the landscape, covered with what looks like pink bubble bath, that replaces the backdrop of Nagasaki when Butterfly makes her first appearance; and the tacky flapping gestures she makes as she dies. But generally the production's straightforwardness and refusal to labour political subtexts has become its strength, and its ability to retain its crispness is shown by this excellent revival, which Caurier and Leiser themselves returned to supervise.

The Royal Opera House hosts an utterly triumphant revival of Moshe Leiser and Patrice Caurier’s production of Gioachino Rossini and Cesare Sterbini’s classic opera Il barbiere di Siviglia (the barber of Seville to us mere mortals). It is an animatedly dynamic production full of fun, smiles and laughter.With a good choice of eccentric characters, a love match, in which we are invested, all amplified in the excitement of the huge time pressures of the piece, it is little wonder that the entire first half ends up culminating into a monumentally spectacular climax, helped hugely by the most incredible set flourishes from Christian Fenouillat.Vito Priante is glorious as the title role of the barber, Figaro. Both his tone and visual projection are magnificent and his humour and cheek is superb. Javier Camarena makes a glorious debut at the Royal Opera House as the Count, reviving the role he previously sung for the Metropolitan Opera in New York. His voice is almost unearthly, and with a residual power that resonates around the whole hall – it was stunning, stunning work. Daniela Mack again makes her debut at the Royal Opera House and is charming, cheeky and astute in her role of Rosina. It is another transfixing and powerful vocal delivery, made seamlessly and effortlessly by this exceptionally talented young woman.It was a delightful evening of joy, laughter, surprises and so importantly spectacular music and drama. The atmosphere was electric and the orchestra, incredibly conducted by Henrik Nánási was simply perfection. Whether you are a first time opera viewer or a seasoned professional this is not a production to miss. It is a classic done wonderfully and I would question anyone who might say, with sincerity, that they did not enjoy it.

Oreste, taken from Euripides, was the first of the three pasticcio operas (sort of paste-ups) which Handel himself created from his own works. It outlines Oreste’s reunion with his sister Iphigenia (remarkably secure soprano Jennifer Davis) while she is serving as high priestess of Diana in Tauris operating the harsh laws of King Toante (bass Simon Shibambu in crazed dictator mode), which require all strangers to be sacrificed. For Jones, the horrific cruelty of the classics translates easily into a grungy post-apocalyptic world where order has entirely broken down: a tagged urban underbelly where all protagonists wonder in a traumatised daze of psychopathic bloodlust. Acting is strong – we shall surely see more of baritone Gyula Nagy, and soprano Vlada Borovko, who lands in this world like something out of Breakfast at Tiffany’s, and sings with style to match.The eight-strong Southbank Sinfonia under James Hendry impressed, with reliable tempos and much lyricism, and the lower strings relishing every scrunch on offer. But for all the ingenious attention to gruesome detail, it’s not entirely clear what this Handel-Mad Max mash-up really adds to our understanding of either.

Bakanova is undeniably the star of the show. Her voice, pure and clean, dips and rises above the orchestra. She exudes a simmering balance of gentility and intensity, weakness and strength. Her dramatization of Violetta is as brilliant and vibrant as her voice, and the emotion she injects into her arias, particularly Amami, Alfredo and the haunting Addio, del passato, is palpable. Ayan, in comparison, is less remarkable, as Bakanova is so mesmerising, but he is also a fine actor and an even better tenor. He is commanding and forthcoming as Alfredo, and perhaps with a little more warmth towards Violetta, the chemistry between the pair wouldn’t have felt as flat in the first act. However, their interactions improve in vigour and sincerity towards the end of the piece, and it becomes devastating to listen as they make plans in vain in Parigi, o cara at the end of the third act. Baritone Nicola Alaimo as Giorgio Germont sometimes goes unheard beneath the orchestra, while Doctor Grenvil (David Shipley) performs his few lines with surprising power and clarity. Designer Bob Crowley’s set is simple and understated, and not at all overbearing. During the final act, the wide-open space and Parisian shutters, with peeling walls of washed-out grey make the perfect space for Violetta. The lighting design by Jean Kalman is stunning, from the ominous shadow cast over Giorgio during the second act, to Violetta’s apartment awash with blue light as silhouettes of carnival revellers are seen passing by outside. La Traviata is so tragic it is almost painful, but in the most exquisite way. The tale of a fallen woman, struck by an incurable affliction in the prime of her life, is sure to pull at your heartstrings. If you’ve never been to the opera, as I hadn’t before seeing La Traviata, then I whole-heartedly recommend it. It’s grandiose, it’s a spectacle, and the cast and orchestra are obviously sublimely talented. Don’t be put off by the running time of three hours and forty-five minutes, as it’s all over far too quickly. This production of La Traviata is tender, heart-breaking, and simply beautiful.

Elizabeth DeShong, making her Royal Opera debut, was a terrific Suzuki, her ripe, plum-toned mezzo fabulously dark in its lowest register. She turned on Carlo Bosi's wheedling marriage-broker with real venom and the Flower Duet with Jaho was beyond sublime.In the minor roles, Yuriy Yurchuk was a stately Yamadori – the prince offering Cio-Cio San a way out – and Jeremy White reprised his splenetic Bonze with vigour.Sir Antonio Pappano conjured miracles from the Covent Garden pit. Even the ROH brass was on its best behaviour in a tingling orchestral account. It's a blessing to have heard, in a single season, the world's two finest Puccini conductors (the other being Riccardo Chailly at La Scala) take the helm for this exquisite score. I fear any remaining tickets for this run (at least with Jaho as Butterfly) will be like gold dust, but Thursday's performance (30th March) is being broadcast live into cinemas if you want to net the greatest performance of the title role I've yet witnessed.