I've just got back from there and feel able to award it a solid B-. It's a Verdi opera that I don't know terribly well, but of course I know the story. Just as a side issue, the first act was marred by a beeping noise at exactly the same pitch as my alarm clock and the vehicle that reverses on my neighbourhood building site. As the interval started there was a PA announcement apologising for the artificial sound and reminded people to check that their hearing aids were functioning properly. I overheard someone declare that 'it's the same stupid bitch who does that at ENO'. Perhaps also the same one I've encountered at the Royal Festival Hall. In Act 2, one of the viola players had a coughing fit. I'm not quite sure what moral stance to take on that.
I was in the Lower Slips, and despite the restricted view I rather liked it. I was absolutely level with the conductor's rostrum and realised that it had no score. I couldn't work out whether he was actually conducting without a score, or whether it was invisible score, like the invisible autocue that politicians use at party conferences. My curiosity is piqued. I was not able to see whether or not percussion had brought their books.
It was an excellent position to see the faces of the cast, no need of binoculars, except at one point when I determined to find out what the fuss is about Tommy Handsome. Sorry, still can't see it.
I wouldn't rave about the production but there were a lot of things about it that I liked. I especially liked the costumes, and in general I really liked the witches. I was well impressed when a foetus was ripped from the torso of the second apparition - I wouldn't have seen that in more expensive seats. I also liked the regal gold cages, and noted in particular that the large one had a mirrored floor. I expect it also had a mirrored ceiling. I think Macbeth would have liked it like that.
Orchestral interpretation I found to generally technically fine but rather lacking in lustre. Nothing I could fault but it seemed to lack vim. I thought the choral parts were the best, with a soaring glorious sound that served to highlight the limpness of the band.
As to the singers, I enjoyed Thomas Hampson's performance, but yet again, despite his musicality, his intelligence, his acting, I still feel that he is, to me, less than the sum of his parts. I suppose I don't find his a particularly appealing voice. I did like th bit where he fell to the ground, but I was disappointed he didn't roll. But then, he's not a tenor. Violetta Urmana had a cold and requested our understanding. I couldn't honestly say that I could tell she had a cold, but I didn't find her performance anything remarkable. Indeed, two hours after curtain down, it's already slipping from my mind.
John Relyea cut a fine stage presence. Like Urmana (and amongst others, Alvarez) I would say has has the right looks for opera. Not especially attractive, but striking and expressive in a way that can be seen from a distance. I am sure he has a fine voice. However, it's deep, and I read something a few weeks ago that a lot of people struggle with hearing low notes. That was a lightbulb moment for me, because with basses, there's part of their range that just sounds like a tuneless growl to me. And I know it's me, not them. But I am now looking forward to seeing and hearing him don the famous sparkly black dress as Mephisto.
The highlight of the evening for me was Joseph Calleja. For some reason I have not managed to hear him live before, and although I enjoy his first album, I have had reports that, live, he is a thin and reedy voice. Some of the reviews of this production have mentioned that the reviewer previously found him a thin voice, and were pleasantly thrilled.
I was more than pleasantly thrilled. Although only a small part, he sang it beautifully, and in Ah, la paterno mano, he made time stand still. One review even suggested that he is the best of the Golden Age Tenors. I will require a bit more convincing of this, but, at 28, he's actually significantly younger than the rest of the bunch. He could do with working on his acting and/or stage presence - I was like, where's that achingly beautiful sound coming from, oh it's form that bloke down there, is he a main character, oh I get it, he's Macduff. Definitely the best tenor I've heard this season...so far
There did not appear to be any kilts in this production...
