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Post by tmesis on Sept 17, 2021 10:44:24 GMT
This production replaces the satisfying David McVicar version. It marks Oliver Mears debut as a director and we can all breathe a sigh of relief as it is an eminently sensible and sane affair - it almost makes us forget the atrocities committed by the previous incumbent Kasper Holten - and I now look forward to seeing more of Mears work.
Last night was very satisfying vocally. Carlos Alvarez was a moving and impressive Rigoletto and I was very pleased to hear again Liparit Avetisyan. He hugely impressed me a few years ago as Nemorino in L'elsir d'amore and his light, easy tenor was tailor made for the Duke. He had the right amount of swagger culminating in an almost ideal La Donna e Mobile.
Top honours though must go to Lisette Oropesa who was probably the best Gilda I've ever heard at The Garden. It really is a difficult part that ruthlessly shows up the slightest vocal imperfections. I've heard many top sopranos come a cropper in Caro Nome but she sang it fabulously last night; all the cruelly exposed high notes in place (and in tune!)
So why didn't I enjoy it as much as I should have? Surprisingly I think Pappano was at fault. I'm normally his biggest fan but surprisingly this was his first run of performances at ROH of Verdi's taught masterpiece and I found it all a bit polite - he just didn't give it enough welly and he failed to evoke the sinister atmosphere at the start of Act 3 - difficult to fail at this with Verdi's wonderfully effective orchestral and choral effects. Verdi's famously protracted death scene really dragged last night.
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Post by londonpostie on Sept 19, 2021 8:37:35 GMT
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1,845 posts
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Post by NeilVHughes on Sept 19, 2021 8:58:40 GMT
Interested in dipping my toes in Opera, tempted by the standing tickets, is this wise?
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Post by londonpostie on Sept 19, 2021 9:28:45 GMT
There's a lot to say about that and I guess everyone has a view. My route into opera was the ENB (at the Colliseum) and in particular their 'secret seat' strategy. That's not available for this season and many of us hope it's a temporary response to Covid and bubbles. It's a big blow. Standing at the Opera House is of course an option. I do it at least 50% of the time. To get more out of it needs strategy and maybe a little hutzpah
Standing does allow you to be closer to the stage and, for me, that is vital with opera; if I can't directly *connect*, it becomes hard to emotionally engage.
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Post by Mr Snow on Sept 28, 2021 13:38:04 GMT
Agrre with most of above except....
Last Tuesday the "protracted death scene" really worked for me - many times it has seemed an anticlimax.
And whilst I'll be happy to hear Oropesa any time she wants to show up, I seem alone in thinking she lacks something of light and shade or touch? This was a forceful young lady who vocally dominated her (been around a while and no longer such a force?) Father. I hope she develops this because whilst I admired every note, I wasn't completely convinced by the way they were used to portray the drama. Quibbling maybe...
Will look for Slips tickets for her upcoming Violetta. Still very excited by the prospect.
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Post by Mr Snow on Sept 28, 2021 13:41:22 GMT
Interested in dipping my toes in Opera, tempted by the standing tickets, is this wise? Last seat I bought in the Slips was £12. The sound is excellent and it's quite the experience. The singers always move to the front of stage for the big nos so you rarely miss much! Les Enfants du Paradis.
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Post by scarpia on Oct 3, 2021 15:37:22 GMT
This production replaces the satisfying David McVicar version. It marks Oliver Mears debut as a director and we can all breathe a sigh of relief as it is an eminently sensible and sane affair - it almost makes us forget the atrocities committed by the previous incumbent Kasper Holten - and I now look forward to seeing more of Mears work. Last night was very satisfying vocally. Carlos Alvarez was a moving and impressive Rigoletto and I was very pleased to hear again Liparit Avetisyan. He hugely impressed me a few years ago as Nemorino in L'elsir d'amore and his light, easy tenor was tailor made for the Duke. He had the right amount of swagger culminating in an almost ideal La Donna e Mobile. Top honours though must go to Lisette Oropesa who was probably the best Gilda I've ever heard at The Garden. It really is a difficult part that ruthlessly shows up the slightest vocal imperfections. I've heard many top sopranos come a cropper in Caro Nome but she sang it fabulously last night; all the cruelly exposed high notes in place (and in tune!) So why didn't I enjoy it as much as I should have? Surprisingly I think Pappano was at fault. I'm normally his biggest fan but surprisingly this was his first run of performances at ROH of Verdi's taught masterpiece and I found it all a bit polite - he just didn't give it enough welly and he failed to evoke the sinister atmosphere at the start of Act 3 - difficult to fail at this with Verdi's wonderfully effective orchestral and choral effects. Verdi's famously protracted death scene really dragged last night. This is a relief to hear. I didn't actually like the McVicar production and I was worried the replacement would be à la Holten.
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