Not an opera I am familiar with. It was okay, without being brilliant, or, to be honest, even very good. Karita Mattila, reportedly one of, if not the best Straussian sopranos, was suffering from an allergy and replaced by Nancy Gustafson, who is due to sing the role next week, anyway. I wasn't that impressed, her voice just didn't seem big enough to carry properly to the cheap seats.
There was a problem with the production, which was alluded to in yesterday's Guardian review. The set was quite minimalist, consisting mainly of a gently spiring staircase leading up to a raised platform at the back of the stage. A fair amount of the action and singing took place from this raised platform, leaving me with the bizarre sight of only being able to see the singers from the waist down, their top halves obscured by the proscenium arch.
I have a mind to complain to the Royal Opera, because I bought my ticket online and the website states "All seats bookable online have a clear view of the stage." I didn't, and feel like threatening them with the Sale of Goods Act or Trades Description Act or something.
It was one of those performances where I would have happily have done without the singing just to listen to the orchestra, which sounded gorgeously lush under Christoph von Dohnányi. The plot was okay, and reasonably well staged and acted (except for the problem with the raised platform).
Barbara Bonney sounded good as Zdenka, and Thomas Hampson was impressive as Mandryka, although I don't especially care for his voice. He is rumoured to bbe so vain as to own 250 mirrors, but I didn't see any sign of it.
I was particularly impressed by Artur Korn as Arabella's father. the biggest cheer of the evening was for Diana Damrau, playing the small but exquisite part of The Fiakermilli - cabaret artiste. Perhaps she had a claque with her.
I suppose the best thing to say about this is "It's No Rosenkavalier..."
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