Puccini and Carl Maria von Weber are the star players in the latest offering from the world of grand opera from The Arts Desk.
Instead of the traditional Beethoven's Ninth, the penultimate night of the BBC Proms was devoted to the astonishing grand opera 'Der Freischtz' by Carl Maria von Weber. Hugely influential in the 19th century with its dark, dramatic Gothicism, the piece enjoys an impressive reputation but a slightly less grand performance history.
The Orchestre Rvolutionnaire et Romantique performed a semi-staged version here, with the great classical archaeologist Sir John Eliot Gardiner, using the score rearranged by Berlioz. Although in this respect, the semi-staging was lacking, it didn't matter, as the music was so energetic, so attention-seeking and so packed with masterful orchestration.
For impressive opera London proved to be fruitful at the Royal Opera House, which was home to Puccini's masterpiece - his triptych of one-act operas, 'Il Trittico'. Together 'Suor Angelica', 'Il tabarro' and 'Gianni Schicchi' follow a loose trajectory from hell through purgatory to paradise. They form an emotional roller-coaster ride, full of orchestral magic and tough choral writing.
The production was helped by the winning partnership of Royal Opera principal conductor Antonio Pappano and maverick director Richard Jones. There were plenty of weepy moments, thanks to Pappano's detailed conducting and the masterstroke by Jones of setting the piece in a children's hospital.
In 'Il tabarro', Eva-Maria Westbroek overplayed the trashy element of Giorgetta, while Lucio Gallo was not quite hoary enough as the resentful Michele in this grim take on Parisian barge life. The perfect line-up was present in the ensemble comedy that is 'Gianni Schicchi', which was kept sharp and detailed. The comic timing of Puccini was maximised to the full and the opera house setting had the audience laughing more than ever before.
Instead of the traditional Beethoven's Ninth, the penultimate night of the BBC Proms was devoted to the astonishing grand opera 'Der Freischtz' by Carl Maria von Weber. Hugely influential in the 19th century with its dark, dramatic Gothicism, the piece enjoys an impressive reputation but a slightly less grand performance history.
The Orchestre Rvolutionnaire et Romantique performed a semi-staged version here, with the great classical archaeologist Sir John Eliot Gardiner, using the score rearranged by Berlioz. Although in this respect, the semi-staging was lacking, it didn't matter, as the music was so energetic, so attention-seeking and so packed with masterful orchestration.
For impressive opera London proved to be fruitful at the Royal Opera House, which was home to Puccini's masterpiece - his triptych of one-act operas, 'Il Trittico'. Together 'Suor Angelica', 'Il tabarro' and 'Gianni Schicchi' follow a loose trajectory from hell through purgatory to paradise. They form an emotional roller-coaster ride, full of orchestral magic and tough choral writing.
The production was helped by the winning partnership of Royal Opera principal conductor Antonio Pappano and maverick director Richard Jones. There were plenty of weepy moments, thanks to Pappano's detailed conducting and the masterstroke by Jones of setting the piece in a children's hospital.
In 'Il tabarro', Eva-Maria Westbroek overplayed the trashy element of Giorgetta, while Lucio Gallo was not quite hoary enough as the resentful Michele in this grim take on Parisian barge life. The perfect line-up was present in the ensemble comedy that is 'Gianni Schicchi', which was kept sharp and detailed. The comic timing of Puccini was maximised to the full and the opera house setting had the audience laughing more than ever before.
About the Author:
Steve Alexander works as a writer and has a good knowledge of opera London. For more information and reviews on grand opera in the capital, visit theartsdesk.com.
