I went to see this at the Royal Opera House on Thursday evening. I'm going again next week and it's on the radio on Saturday, so this is just my initial impression. (Also rumours of a possible televising)
By Donizetti
Marie ...... Natalie Dessay
Tonio ...... Juan Diego Florez
La Marquise de Berkenfeld ...... Felicity Palmer
Sulpice ...... Alessandro Corbelli
Hortensius ...... Donald Maxwell
A Corporal ...... Bryan Secombe
Duchesse de Crackentorp ...... Dawn French
I enjoyed it. I really don't know the piece at all, save for that one aria 'Ah! mes amis, quel jour de fête!' with its 9 High Cs. I'm not a high C freak at all, am entirely indifferent to interpolated high notes, and so on, but I will admit that in an aria with 9 of them coming in quick succession - as written - there is potentially a visceral thrill. And I might as well get it out of the way, now. JDF sang them all, brought the house down with applause, but didn't do an encore. It is a really great aria, and this is now the third time I've heard him sing it in six months, and he does it very well.
I thought the production was very good, but, having read a review that called it 'the best production at the ROH for decades' was rather red rag to a bull. For the record, it isn't...and it's not like I've seen many, but I have seen quite a few better.
And the music. As I had never heard it before I can only say it was consistently lovely without between memorable. Coincidentally, the latest in my alphabetical list of operas to be studied at home is L'Elisir D'amore, and what has really struck me about that is the intricate colours going in the orchestra. I noticed nothing of that on Thursday, but will be in a better position to comment next week. In fact, I didn't especially notice the orchestra (as distinct from the music) at all. Which isn't a bad thing, but isn't necessarily a good thing.
The performances were all of a high standard. No weak links, although apart from the two leads none really leaped out and grabbed me. I had not heard Natalie Dessay before, and I certainly found her impressive, vocally and dramatically - perhaps tending to the manic over-acting. I did notice that she seemed to nail the high notes more convincingly when she was supported by the chorus. I don't mean vocally or musically, i mean literally lifted off the ground and held aloft by the men of the 'regiment'. A lovely voice.
Juan Diego Florez was as to be expected a flawless performance. He is really the consummate professional performer, never a flubbed note, never a move out of place, looks good and moves elegantly, and I am a fan of his. And yet, there is something lacking. I wouldn't go so far as to say insincere or mechanistic, but it lacks a raw passion. Indeed I would say, 9 high Cs not withstanding, I would say his singing lacks raw passion. Plenty of finesse and beautiful to hear, which is right for the repertory he does.
The production was visually appealing throughout. The underlying theme was three maps/mats on the floor representing the Alpine Region in which it is set, undulating to represent the rugged surface of the alps. Although simple and figurative, I found it evocative.
The curtain opened to a wagon train of abused furniture - wardrobes etc neatly converted into covered transport for an army on the move. There was a call to arms, and the regiment armed themselves with kitchen utensils. Eventually, this caravan was moved, making the undulating maps the centre of focus. Various people came and went, and various bits were sung. Marie, the eponymous daughter of the regiment (she was found as a baby on the battlefield and adopted by the whole regiment...) was shown doing various humdrum tasks, such as ironing and peeling potatoes, and hauling in a whole washing line of long-johns.
In the second Act, the Covent Garden box was wheeled on, to rest on rolled-up maps and carpet oddments. Although, unusually, the box didn't have a lid, and was open on three sides. There were some odd goings on, the notary appearing through the fireplace (huh?). Various people came and went, yes, that is definitely my abiding memory - lots of entering and leaving. Dawn was entertaining in her small speaking role. A right snotty cow, if you ask me.
The idea was that Marie was to be married off to the nephew of the Duchess of Crackenthorp (by proxy), which didn't make her happy, because she was in love with Tonio, the peasant boy, who had enlisted in order to assist Marie's earlier promise that she would only marry one of the regiment. It was amusing seeing the wedding guests streaming up the alpine path to the back door of the mansion, all of them qualifying for "Ministry of Silly Walks" grants. For a moment, it evoked the freshness of sunlit alpine pastures, so that was nice. the best bit dramatically was when the regiment decided that Marie's impending marriage was not a good thing, and drove a tank towards the mansion. I'm afraid at that point the audience did a very un-British thing of actually applauding the scenery...oh, the shame of it...
Overall, an enjoyable evening without being moving and profound, and one that will look good on telly, if it's shown. The evening got a lot better when the people behind me stopped laughing in that smug, knowing way that people do when they know intellectually it's supposed to be funny, but in reality is less rib-tickling and more faintly amusing. on the other hand, it deteriorated seriously when the man behind my left ear decided to rub the nylon material of his trousers against his right knee in time with the music. Close to fingers on blackboard time and certainly as bad as tapping or even singing along. At least, I think it was his knee...
More thoughts actually on the music etc after next week. Just for the record, I didn't go to the Stage Door, because I thought I ought to hurry home because of a certain fiancé of mine, who shall remain nameless, had locked himself out of the house.
Mother says JDF was on Andrew Marr's show yesterday but that's a bit early for me. And she didn't actually see it because she had to go to Mass.
Update: I've just discovered the clip on line go to this link . It's right at the end of the programme (after the news, trailer for Heaven and Earth, and Ming Campbell discussing the Cheeky Girls and Charlie Kennedy) - position the 'play' counter approximately over the 'k' of "Back to launch page" . It will probably expire on Sunday 28th.
We love a girl in uniform, La fille du regiment, A nearly perfect delight, La fille du regiment, The Fat Lady Steals It ( a really quite ridiculous and factually incorrect headline from some smartarse sub-editor at the Home Counties Evening Sub-Standard), La fille du regiment and Lithe and Musical
