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Post by AddisonMizner on Jul 14, 2017 5:47:47 GMT
This is good news. A show I have always wanted to see, as I love the score. Will definitely be booking!
The poster looks gorgeous too!
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Post by AddisonMizner on Jul 3, 2017 20:09:07 GMT
Slightly off-topic, but does anyone know which DVD of OTELLO with Placido Domingo is the best?
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Post by AddisonMizner on Jul 3, 2017 17:24:07 GMT
I saw the matinee of this yesterday (2nd July), and I absolutely loved it. It felt like a real event, and was one of my best operatic experiences so far. The afternoon flew by in a haze, and I certainly wish I could witness it again live. It is why I love opera!
There were so many noteworthy moments. The opening had me pinned to the back of my seat, and hairs standing up all over. I have never quite heard a sound like it. The orchestra and chorus were absolutely stunning. The end of the opera I also found particularly spine-tingling and affecting.
Kaufmann sang a very strong and solid OTELLO. I did not think he would be able to pull this off when it was first announced, nor due to his recent vocal issues. However, I am very happy to be proved wrong. Yes, there were a few moments where he was underpowered and careful, but overall for me, iwas absolutely thrilling. I certainly took much inspiration from his performance. The rest of the cast were also good.
Some of the reviews clearly didn't like the production, but I felt it was very strong. It made the story and music speak for itself, but added just enough to keep it interesting and get the audience thinking. I liked its interplay of light, dark and shadows particularly. This came across so well through the beautiful and atmospheric lighting.
I may see if there is a cinema encore somewhere close by, so that I can see it again.
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Post by AddisonMizner on Jun 21, 2017 20:01:41 GMT
Sorry to be the person to ask THAT question, but does anyone know the typical running time of this show? Is it a long one? Want to fit it into my August London trip, but not sure on timings. It's not long at all. Probably under 2.5 hrs. It's more like a play with songs a la Blood Brothers. Thanks for the info. Hopefully able to fit it in. A huge fan of Goodall's work (probably one of the only people that enjoyed BEND IT LIKE BECKHAM). Just need to check my train back.
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Post by AddisonMizner on Jun 21, 2017 16:07:34 GMT
Sorry to be the person to ask THAT question, but does anyone know the typical running time of this show? Is it a long one? Want to fit it into my August London trip, but not sure on timings.
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Post by AddisonMizner on Jun 12, 2017 17:20:59 GMT
I went to see this yesterday (11th June).
I have to say I went purely for the presence of Lawrence Brownlee in the title role (that was written for his voice). I had never heard him live before yesterday, as he does not seem to sing much in this country for some reason (although he is doing SEMIRAMIDE at the ROH in November). Well, he did not disappoint! It is a beautiful voice - open with excellent "ping" at the top. The composer seemed to utilise a lot of his middle and bottom register, but when he sang the top notes it was truly thrilling. However, it was vocally strong from all of the small cast.
I found the score to be melodic, and liked the use of themes, or leitmotives throughout. For a modern opera, I did certainly come out humming some of the music (not that I think this is necessarily a marker of quality). I also felt that the style was very suitable to the subject, and a nice "fusion" of the jazz and classical idioms. However, there were some very bemused jazz fans leaving the theatre. I think they expected more of Charlie Parker's actual music, and I'm not sure if some of them knew that it was an opera. I believe there were some snippets of his music in the score though.
The staging was simple, but effective and I liked the way that the story was structured and told, with dead Charlie looking back on his life, particularly from the perspective of the women. The staging of the asylum scene was also particularly well done.
Overall, a highly enjoyable experience, and nice to see some new opera, particularly sung so well. Not quite a 5-star experience, but certainly 4. Go if you can!
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Post by AddisonMizner on May 29, 2017 19:28:20 GMT
It's just a shame I couldn't see the whole opera. I was really looking forward to it as well. I'll just have to watch my DVD with Kaufmann I suppose. (Speaking of Kaufmann, apparently he was seen drinking coffee somewhere nearby. This bodes well for his ROH OTELLO, to which I have tickets - though he could still cancel!) you have tickets?! can i fight u for them i wonder if tickets for Otello will come up on friday rush i desperately want to see him kaufmann and netrebko are the only opera stars i really love I do have tickets. Only as of last week mind you. Some came up on the website unexpectedly for one of the matinees, so I jumped on them. May be worth just keep checking the website, unless something similar happens. Needless to say, I am VERY excited! Heard Kaufmann once a few years ago in a concert of Strauss Lieder at Birmingham Symphony Hall, and have wanted to hear him in opera ever since. Let's just hope he doesn't cancel! I don't know what the refunds policy is if he does! Hoping to hear Netrebko in MACBETH next season!
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Post by AddisonMizner on May 29, 2017 16:18:30 GMT
Well, today's performance was certainly interesting. I went to the last performance today (29th May), but in fact the performance didn't go ahead. Kristen Lewis (Elizabeth) had been taken ill shortly before curtain (they said about an hour), and she had to go to hospital. Apparently they didn't have a cover for the role, so had to cancel the performance and give the audience a full refund.
However, we were treated to about an hour and a half of highlights from Acts 1-3 of the opera, which was fun, and I felt a nice gesture on their part, for those of us who had spent money on trains etc. The bits that I did hear sounded fantastic! Does Hymel always sing the top note at the end of his and Posa's famous duet? They normally end on the same note, but he took it up (high C?) It certainly is thrilling to hear live.
It's just a shame I couldn't see the whole opera. I was really looking forward to it as well. I'll just have to watch my DVD with Kaufmann I suppose. (Speaking of Kaufmann, apparently he was seen drinking coffee somewhere nearby. This bodes well for his ROH OTELLO, to which I have tickets - though he could still cancel!)
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Post by AddisonMizner on May 22, 2017 5:51:01 GMT
Well, I finally saw this on Thursday evening (18th May), whilst it was in Nottingham, after trying to see it at the St. James in December on the day when the matinee was cancelled. I am only just getting a chance to post my thoughts.
Well, it was good, but I wouldn't say it blew my socks off. I've previously seen the film and thought it was ok, but I just don't think that RENT is really my cup of tea.
Yes, it has some great songs, and they are delivered well by the cast. The production was also very good. I just felt a disconnect with the material. I don't think that it is particularly dramatically engaging, and for me sort of just plods along with little sense of where it is going.
I am clearly in the minority though, as the rest of the audience absolutely ate it up.
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Post by AddisonMizner on May 22, 2017 5:42:39 GMT
Finally caught up with this yesterday evening, and I thought that it was absolutely stunning! I haven't seen the play, but from my perspective, it had a brilliant premise that was so dramatically involving, acted with huge panache by the cast. The moment Charles walked into the House of Commons and dissolved parliament was absolutely thrilling! However, that was just one moment among many highlights. Visually, it looked stunning as well. I thought the use of iambic pentameter was a master stroke.
Catch this if you haven't already whilst it is still on the iPlayer. I may get myself the DVD. Would definitely go and see the play now if it was revived.
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Post by AddisonMizner on May 14, 2017 19:24:05 GMT
I really hope this transfers!
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Post by AddisonMizner on May 7, 2017 17:13:21 GMT
I saw yesterday's matinee of CAROUSEL (6th May), and here are my thoughts...
Firstly, the negatives! Yes, I completely agree with others that the acting is very hit and miss here, particularly from the two leads. There were more than a few moments in the dialogue scenes that did not land emotionally because of this. Also, the characters didn't feel as fully drawn as they could have been. Katherine Jenkins was certainly the best in the acting department (and I say this as a fan of Alfie), but this still left a lot to be desired.
However, I loved this production for one particular reason, and one that will make me remember it for many times to come, and that is...the music! The orchestra sounded simply glorious, and I had to literally fight back tears during the "Carousel Waltz". I was visibly shaking. This was helped by the absolutely stunning staging of this opening sequence (I will not give it away for those who have not seen it yet). As others have said, this is certainly not a semi-staged affair.
Every time the orchestra started up, I found myself welling with tears. This was this music as it was meant to be heard, and why this CAROUSEL was such an emotional sucker-punch to the gut. I was an absolute mess during the whole of Act Two, particularly during the Ballet Sequence (this absolutely broke my heart) and the final YOU'LL NEVER WALK ALONE. I have never cried so much in a theatre.
It was also (mostly) so well sung. Despite being a tenor in a baritone role, I thought that Alfie did really well. I would have liked a quieter IF I LOVED YOU (Reprise) at the end to Julie, as I think it is so much more touching (it is beautifully done in the film. Alfie belted this out, and for me it slightly ruined the moment, but other than this, he did rally well. He was running up and down ladders during the SOLILOQUY and didn't miss a note. Katherine Jenkins was also not too distracting. Brenda Edwards as Nettie was not to my taste, but I prefer a "classical" sounding voice in this role. This score is made for "legit" singers.
So, top marks for the English National Opera Orchestra, who absolutely made this CAROUSEL for me, packing its emotional punch in its beautiful music.
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Post by AddisonMizner on May 7, 2017 16:49:45 GMT
I saw this last night (6th May) at the ROH, and absolutely LOVED it!
It is absolutely bonkers, with music to match, but it is so well-written and theatrical. I wasn't bored once. I particularly liked the music for the young lovers. Loved the staging - very simple but effective, and the cast of singers were superb.
I will definitely be seeing this again with the Met HD in November, which I believe is then being released on DVD/Blu-ray.
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Post by AddisonMizner on May 7, 2017 16:18:36 GMT
It is such a shame that this is only on for one night. I would have liked to have seen this, but have no chance as it is midweek. Wish they had done a few extra days, including a Saturday matinee.
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Post by AddisonMizner on May 7, 2017 16:16:35 GMT
GOT TICKETS FOR FOLLIES!!! (Despite limited availability). Row C in the Dress Circle. I just hope they are good. The seats are green on the TheatreMonkey seating plan, but no reason is given as to why.
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Post by AddisonMizner on Apr 27, 2017 19:59:58 GMT
ENO announced their new season, and for the most part it sounds excellent (if a little short): www.eno.org/Particular choices for me would have to be Muhly's MARNIE. I really regret not seeing TWO BOYS when it was on. I only hope they revive it soon. I will definitely be booking for that! I would also be interested in Britten's THE TURN OF THE SCREW at Regent's Park, Open Air. It is an opera I have always wanted to see, but am a little sceptical about the venue. Is this really the best place for it? I can't imagine the sound being very good. Will they be using mikes? If so, that would defeat the whole point of doing opera. It makes me wish they would have just done it at another indoor venue. Quite like the look of the RODELINDA revival too. Very tempting!
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Post by AddisonMizner on Apr 20, 2017 21:03:57 GMT
I saw this a couple of weeks ago, and loved it! I'm sure I am going soft in my (not so) old age. Vocally, I didn't think it was the strongest, and certainly Emma Watson is no singer, but she sure than made up for it in her overall performance. I thought she was magnetic in this - feisty, touching, and I had fallen in love with her by the end of the film. This is from someone who always thought that she wasn't a particularly good actor. It also looks visually stunning, and I agree that the new songs are beautiful. Alan Menken can write a tune!
Yes, it is schmaltzy and predictable, but that is the Disney brand.
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Post by AddisonMizner on Apr 16, 2017 14:21:37 GMT
I saw yesterday's matinee (15th April), and can only concur with what is being said above.
Imelda Staunton offers yet another tour-de-force performance, excelling at all sides of this complicated character's personality - she can be sexy, demure, funny, frightening and heart-breaking in equal measure. There was a moment in the third act, when she gives a scream, a howl of anguish, and I had shivers down my spine. What an actress! She never disappoints. Not only have I always admired her acting since seeing her first ad Mrs Lovett in SWEENY, but her RE-acting to other characters. What she can say with just the flick of her eye is extroadinary. She makes it very difficult for you to take your eyes off of her.
She is supported by other strong performances. Conleth Hill was also a very nice discovery for me, as George, and a nice match for Staunton's Martha, and the two younger roles were also very good in their descent into the madness.
A stunning production of a play that is new to me!
5 stars.
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Post by AddisonMizner on Apr 16, 2017 13:55:23 GMT
I've been wanting to see this play for so long, and finally managed to catch the tour in Nottingham on Wednesday (12th April).
The first thing to say is I loved the style of the production, with the ingenious use of projection, lighting, music and movement. It made the play very slick and fluid, with scenes moving effortlessly into one another. It very much reminded me of PEOPLE, PLACES AND THINGS in this regard.
The performances were also very strong, with the role of Christopher being a real tour-de-force. It must be exhausting to perform, as it requires so much energy and physicality.
My only criticism would be that for me, some of the humour veers off unintentionally into pantomime at some points. Without giving anything away for those who are yet to see it, the moment in the underground station in Act 2, and how some of the characters reacted, was too much. There were other such moments throughout the play as well.
However, this does not detract from what I thought was a highly enjoyable evening in the theatre. Go and see!
4 stars.
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Post by AddisonMizner on Apr 16, 2017 13:40:23 GMT
I saw this on Friday (14th April), on a weekend trip to London, knowing very little about the play to begin with, except that it was a sort of HAMLET spin-off. Well, whilst nothing much actually happens, the time just absolutely flew by! A hugely enjoyable play and production - intelligent and extremely funny. I laughed so much during the evening. The whole cast were strong, but the play obviously rests on the two leads and they were fantastic. I thought Joshua Maguire was the stand-out star of this production, but as has been said in a previous post, he has the "showier" of the two roles. Daniel Radcliffe was very good though, and plays "the idiot" very well.
Needless to say, I loved it, and would definitely go again. I look forward to also searching out more Tom Stoppard, as I enjoyed his writing hugely.
4 stars.
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Post by AddisonMizner on Apr 5, 2017 19:14:51 GMT
I'm most excited for MACBETH with Anna Netrebko. Hers is a voice I have been wanting to hear live for some time now, after she cancelled in FAUST a few years ago. She is absolutely thrilling on recordings, so I can only imagine what she sounds like live. Let's just hope it doesn't sell out like the recent Jonas Kaufmann OTELLO did!
Overall, it looks like a strong season, with strong singers. Others on my list include: - CAV/PAG with Elina Garanca, Bryan Hymel and Simon Keenlyside - SEMIRAMIDE with Joyce DiDonato and Lawrence Brownlee - LADY MACBETH OF MTSENSK - The new George Benjamin and Anthony Turnage operas - FALSTAFF with Bryn Terfel and Simon Keenlyside
Looking forward to the ENO season announcement now.
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Post by AddisonMizner on Mar 29, 2017 6:17:26 GMT
Good news regarding the transfer! I am missing this at the Almeida, so will definitely be booking for the West End. This was my A Level English play, but I've never actually seen a production!
Do we know yet if Scott will be doing all dates of the run, or if there are any scheduled holidays etc?
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Post by AddisonMizner on Mar 26, 2017 10:10:09 GMT
I saw the matinee of this yesterday (24th March) and thoroughly enjoyed it. The production seems very timely, with many pertinent themes ringing true with what is happening in the world right now.
I found the production and performances to be very strong. Yes, the production is very simplistic, but I loved this approach.
Another Sondheim crossed off the list.
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Post by AddisonMizner on Mar 23, 2017 6:40:26 GMT
Also missed this at the Wyndhams and regretted it. Shall probably book for this.
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Post by AddisonMizner on Feb 27, 2017 7:21:54 GMT
Any possibility of this transferring to the West End?
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Post by AddisonMizner on Feb 23, 2017 19:17:52 GMT
Anyone have, or know where I can find a decent seating plan for the Opera National de Paris (with seat numbers)? The one on the website is rubbish!
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Post by AddisonMizner on Feb 21, 2017 6:36:54 GMT
I know that they released a filmed version of this on DVD. Anyone know where I would be able to obtain a copy?
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Post by AddisonMizner on Feb 20, 2017 6:41:53 GMT
I saw this yesterday in Nottingham, and can only echo what has been said above. I absolutely LOVED it! A great musical, with superb songs, choreography and acting performances, given a stunning production that was performed with such attack by the talented cast. The energy practically bounced off the screen. Stunning! Let's just hope they release the Blu-ray soon.
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Post by AddisonMizner on Feb 18, 2017 20:32:01 GMT
Well, I saw the matinee of this today (18th February). I understand why this might not be everyone's cup of tea, but I absolutely adored it!
Maury Yeston is soon going to be one of my favourite composers after TITANIC (one of my highlights of last year) and now this. The score was GLORIOUS! There were so many moments of spine tingling beauty, and the hairs on the back of my neck stood up multiple times throughout the show. It helps that I absolutely love these romantic, gothic and lyrical kind of shows. Just right up my street. It also helps that it was mostly so well sung by the cast - probably the best sung show in London at the moment. A proper singer's musical.
However, as others have said above, it wasn't just the score that made this a real highlight for me, but the whole sum of parts that made up the show. It looked gorgeous too. The sets, costumes and most of all, the lighting. There was a moment with the lighting towards the end of the show that was literally so simple, but it took my breath away, and coupled with THAT music, was sublime. When the lights came back up at the end of the show, I felt very emotional, and wanted to burst into tears. A feeling that I couldn't shake for at least half an hour afterwards.
This is the first show of the year for me, having had something of a "dry" January, but it is now well and truly off to a stonking start, and is already a highlight that will take some beating. One of the few shows that, if I didn't have a train to catch, I could have quite easily bought another ticket and seen it again this evening. A show I am still thinking about now, and will doubtless think about for days to come.
Sorry for the gush, but go and see while you can!
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Post by AddisonMizner on Feb 16, 2017 21:08:29 GMT
Still really interested in CAROLINE. Anyone know of the quickest way to get from Nottingham to Chichester?
KING LEAR with McKellen is also very tempting.
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