That's where I was Monday. I attended the Dress Rehearsal and reviewed the production, so I won't do so again, except to add a few things I missed.
- As well as Pollyann the Donkey and Louis the horse, there were also chickens.
- In Act 3 the smugglers abseiled down the orange wall into the gypsy camp
- I missed a bit of furniture abuse - when the Lieutenant (Matthew Rose) has finished kneeing Don José (Jonas Kaufmann) repeatedly in the balls he sends him flying across the stage, knocking over a couple of chairs in the process
- Matthew Rose does the most convincing impression I have ever seen of a Middle England bloke prematurely Middle Aged getting a bit lathered up (but not chavvily leathered) on a package holiday to the Costas and dancing in a naff awkward manner
I still think the stage is a bit busy at times, sometimes you're attention is caught between two competing bits of action: eg, do you watch Lieutenant being striped to his combis, or do you watch Carmen and Don José getting seriously down with it at the other end of the stage.
Okay, the opera. Everybody who is reading this either knows it intimately or else is familiar with very many tunes from compilation CDs, adverts and ringtones. It's easy to think of it as a selection of catchy tunes, but I refuse to do that. The orchestration is the work of a genius. I forget where I read it but Wagner is reported as saying after he heard it, "At last, someone who understands." And if you don't listen to what is going on in the orchestra, you're missing a lot. It's not just about mood music: the sexiness of the Seguidilla and the gypsy song, or the lyricism of the Act III entr'acte, but also about the leitmotifs. Particularly noticeable when the Torreador theme is reprised, but I also like the premonition of doom at the end of Act III.
Orchestra good without being great. Some dodgy notes from the brass in the Prelude; also can't remember where, don't really care the odd bit that didn't sound quite right. The Hobbit kept things moving at a spanking pace and mainly brought some delightful sounds out of the band.
The singers. Micaela isn't a part I like and I was a bit underwhelmed by Norah Ansellem, which is a shame, because I have enjoyed her in the much meatier role of Violetta both live, and on TV from Madrid (2005). Otherwise I thought the singers were all wonderful. The smaller parts were all at least as good as they had to be, with Matthew Rose and Elena Xanthoudakis being particularly memorable, their stars definitely in the ascendancy.
The three stars were incandescent. Overall, they all had their moments of being rough around the edges - I think it's a role debut for all of them - but I would argue that it's immaterial that they were, because that was part of totally committed all-round excellent performances. It is conceivable that any one of Anna Caterina Antonacci, Jonas Kaufmann, and Ildebrando DArcangelo would take the stand-and-deliver option: (except in the case of Ildebrando where, in fairness, sitting atop a horse gives one very little option!). The interplay between them was of the highest order, thoroughly naturalistic, never any sense of being aware that they were acting. All completely at ease in their bodies and their roles, and singing beautifully to boot. On the strength of this I wouldn't hesitate to go back to hear either of Anna Caterina or Ildebrando.
As I have already intimated, both by Twitter and by this, I have fallen totally under the spell of Jonas, who is now the deserving owner of the title "Gert's Favourite Tenor (Under-65 division)", which is in no way meant to put down the lovely Rolando, Marcelo and Juan Diego.
Honest, it's his voice first and foremost. A rich tenor with a baritonal edge,very much heading for the dramatic roles - he's got Florestan and Parsifal in his rep (Gert shivers with anticipation, especially at the thought of the latter). Not a great 'high note' tenor, but as someone once said, "The high note is not the only thing." In addition it's his stage presence, his instinctive acting ability, the way he moves, gets into the character. The fact that he is easy on the eye is no bad thing either! I first saw him in La Rondine and again in L'incoronazione di Poppea. He's cancelled live on me twice (although on one occasion it was mutual) and he's also cancelled on me on the TV. Thirteen months seems a long time to wait to see him again. I'm seeing Carmen again with the B cast and I'm completely skint, but I am tempted to see if I can get a return.
His La fleur que tu m'avais jetée was exquisite. Such feeling, such a beautiful voice, so rich and caressing the notes, and finishing on a delightful pianissimo. I wrote a few months ago that I am not overly keen on that aria. Let's just say I am now...!
Overall, a really enjoyable experience, full of life and passion. It would be so brilliant if it was shown on TV or put out on DVD, neither of which are likely, unfortunately. But it will be on the radio, including the internets, on Boxing Day.
There are lots of photos on ArenaPal, which is quite difficult to navigate, but follow this link and ignore the ones from Spice Drum Beat: Ghoema by David Kramer at the Tricycle, unless, of course, that interests you!
And here are a couple I took...
Jonas Kaufmann
Curtain call with Act 4 (Bull Ring) Scenery
