Thursday night was Ariadne auf Naxos by Richard Strauss. The Royal Opera has been very active in celebrating the Strauss Centenary, having already presented Elektra and Die Frau ohne Schatten earlier in their season. The production was first seen at Covent Garden in 2001 directed by Christof Loy with designs by Herbert Murauer. The conductor was Royal Opera music director, Antonio Pappano. Finnish soprano, Karita Mattila was making her role debut as The Prima Donna / Ariadne. And what a debut ! She was sensational. As the Prima Donna in the Prologue she was hilarious. As Ariadne in the opera, she was again fantastic, and gave one of the most intense performances I have ever seen in an opera house.
Canadian soprano Jane Archibald in her house debut as Zerbinetta, was another revelation. With laser like coloratura in her big aria, she was amply rewarded with applause at the curtain calls. Thomas Allen, Ruxandra Dunose and Roberto Sacca as the Music Master, the Composer and Bacchus respectively were all ideal for their roles. Smaller roles were all very well sung, especially Markus Werba as Harlequin, who you may recall sang in Wexford in The Jacobin back in 2001.
On Friday I must admit that I approached the opera house with a little trepidation, as I was about to see what had been described as the ugliest show ever to appear on the illustrious opera house stage. Jonathan Kent's new production of Puccini's Manon Lescaut had been getting mixed reviews. Generally speaking I do not pay much attention to reviews; after all they are just one person's opinion, and each of us has different tastes.
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| Curtain call at Manon Lescaut |
As soon as the curtain rose I could see what the critics complained about, but, within minutes the scenery truly became unimportant as soon as Jonas Kaufman started to sing. Kristine Opalais in the title role was also outstanding. The passion between her Manon and Kaufmann's Des Grieux sizzled in Act 2, and their final death scene was gut-wrenching to the point that you did not notice that it was set atop a twisted section of motorway ! Yet another Wexford alumnus, Christopher Maltman was excellent as Manon's scheming brother. Antonio Pappano was conducting again tonight, and he drew impassioned playing from the orchestra, who gave a superb account of the well known intermezzo.
Saturday night saw the premiere of a new production of Maria Stuarda by Donizetti starring Joyce DiDonato and Carmen Giannatasio as the rival queens. In Donizetti's opera which is based on Schiller's play, the action centres on a completely fictitious meeting between Maria and Elizabeth, during which Maria questions Elizabeth's parentage, which results in Elizabeth signing Maria's death warrant. Traditionally this is where the soprano fireworks fly, and DiDonato and Giannatasio did not disappoint. As Maria hurled the insult "Vil bastarda" , the two queens entered into what can only be described as a white hot royal slanging match. Of course we know that Maria comes out on the wrong side, and as she prepared to go to her death, DiDonata so enthralled the audience you could hear a pin drop. The roar that erupted at the final curtain was truly deafening. Only once before have I heard such a reaction at the end of an opera. That was after L'Assedio di Calais, also by Donizetti, at the 1991 Wexford Festival.
All the others singers were also excellent. The unusual production by Moshe Leiser and Patrice Caurier, with designs by Christian Fenouillat and Agostino Cavalca, drew much disapproval from certain sections of the opening night audience.
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| Cast and conductor of Maria Stuarda |
Overall it was very enjoyable weekend, and with a Wexford connection each night, what more could you ask for? Well, three more very different operas and productions would be nice. But I won't have to wait too long, as Wexford Festival which is just over 3 months away will deliver exactly that !
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