898 posts
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Post by bordeaux on Mar 1, 2023 19:15:36 GMT
Got the leaflet today and looks interesting, and they seem to be travelling to a fair number of places still. Autumn 23 is Ainadamar by Golijov, a composer I've often thought I'd like to hear something of. It's about the life of Lorca and is directed by choreographer Deborah Colker. That's paired with the David McVicar La Traviata. Then in Spring 2024 there is Cosi directed by Max Hoehn... in the 1970s four sixth-formers discover that falling in love can be etc etc ...it sounds like my life back then! Then there is Death in Venice by Britten directed by Olivier Fuchs, commendably ambitious. I certainly enjoyed the Deborah Warner/Ian Bostridge version at the ENO and look forward to seeing it again. In the summer there is a full Il Trittico by Puccini.
Pretty impressive in my view.
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4,955 posts
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Post by Someone in a tree on Mar 2, 2023 8:51:05 GMT
Ainadamar and Venice have my name all over it. 10 years ago WNO would of produced 9 operas a season and not 5, bloody government
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Post by oxfordsimon on Apr 19, 2023 22:34:04 GMT
I am just back from seeing Magic Flute in Milton Keynes.
What a mess. Talented cast (on the whole) but a dreadful new translation and even worse series of choices by the director and designers.
Avoid unless you are happy to keep your eyes closed.
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898 posts
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Post by bordeaux on Oct 18, 2023 21:34:14 GMT
I enjoyed Ainadamar last night in Bristol. I'd listened to it several times in the past few weeks, but much of the music is immediately appealing, so if you don't have time for that, don't worry: it's very flamenco-influenced and some of it is thrilling - though there are flatter moments too. The piece suffers a bit from being three scenes in three different times (I think) so it's not always clear what is going on and there is no clear storyline. But I liked it and I'd happily hear more from Osvaldo Golijov. And this is exactly what I want to see WNO and other companies doing - something we haven't seen umpteen times before.
On in Birmingham next week. Milton Keynes and Southampton in November. One hour 20 mins.
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Post by oxfordsimon on Nov 18, 2023 20:04:31 GMT
Reviewed Ainadamar in Milton Keynes and was very impressed.
The vocals were top notch. The music challenging yet accessible.
The design was superb.
It was brave programming but paid off in spades.
I would happily see it again
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898 posts
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Post by bordeaux on Mar 10, 2024 10:09:11 GMT
Lovely to see raves in the Guardian and Telegraph for Death in Venice. The company needs a hit.
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421 posts
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Post by Distant Dreamer... on Mar 10, 2024 10:41:07 GMT
The production shots look great too.
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Post by oxfordsimon on Mar 23, 2024 19:50:35 GMT
I am reviewing both productions this coming week. Going to be an exhausting but hopefully exciting time
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Post by oxfordsimon on Mar 26, 2024 23:31:38 GMT
Death in Venice
So much to admire. Stunning work from the orchestra and chorus.
The use of circus performers was inspired and their work was almost beyond belief. Skill, stamina, flexibility and artistry
Mark LeBrocq probably gives the performance of his career.
But I struggled to love it.
Visually it is too monotone for the richness of the orchestration. I understand that budgets are v tight particularly for niche works. But it felt as if it was missing the grandeur it needed at times.
Also the character of Tadzio is supposed to be about 14. By casting someone who is very clearly a fully fledged adult took away what felt to me like a key point in the plot. I don't want the piece to in any way normalize paedophilic attraction. But the casting removed one of the elements of taboo which I think was important.
So much quality. So much to admire. But I didn't love it
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4,955 posts
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Post by Someone in a tree on Mar 27, 2024 8:21:43 GMT
I struggle to like this opera but thought WNO's production to be stunning. By dressing Tadzio in the childish sailor suit, i got that he was 14 ... im also used to Butterfly aged 16 to be played by a 50 year old!
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Post by oxfordsimon on Mar 27, 2024 10:25:11 GMT
I could see that is what they were trying to do but because he spent the majority of his active stage time in various states of undress, that was harder to sustain
What they chose to do works within the construct of the production. I just felt that it lacked part of that sort of transgression.
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Post by oxfordsimon on Mar 27, 2024 23:11:25 GMT
Cosi was utterly charming.
The orchestra has never sounded better. The detail particularly in the obbligato sections was superb.
Dorabella pretty much stole the show for me. Rich, warm tone. Lovely even voice throughout her range. Pitch perfect characterisation. Well matched with a great young Guglielmo.
It didn't fully tackle the cruelty and misogyny at the core of the piece. But it was a top piece of entertainment with some real talent.
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