| Big bold and brassy... |
Welsh National Opera |
| Welsh National Opera- Il Ritorno d’Ulisse (The Return of Ulysses) + La Boheme , Wales Millennium Centre , September 22, 2006 |
This review first appeared in the western mail:Big, bold, brazen and brassy. These are both the positives and crushing negatives of David Alden’s version of Il Ritorno d’Ulisse. The same qualities that make this a visually entertaining block-buster also reduce the work to a theatrical spectacular drained of emotion. It is a mystery as unfathomable as much of the imagery of this show that Alden could create such a fine production of Monteverdi’s Coronation of Poppea at WNO then return with this unfulfilling offering. Most of the soul of this legendary tale of two individuals struggling to be reunited and reconciled despite the most remarkable of circumstances is squeezed out by the sheer weight of gruesome gimmickry. From the moment a giant mouth emerged through the door of the “sicurezza” screen during the prologue this was clearly an evening where unbridled theatricality and showmanship would sacrifice emotional substance on the altar of style. If judged purely on the outward manifestation of a lively imagination this at times surrealist extravaganza would score highly. We are presented with all manner of colourful creations and visual reference plucking from a wide variety of sources and idioms from Minerva as a Prom Queen (I am assured that is how the Greek on her sash reads) to Eumete as some sort of cat man with a stage filled with stuffed moggies, including one sitting on his shoulders. In contrast to Penelope’s fidelity her suitors and Eurimaco are portrayed as a bunch of sleaze balls while Giove surrounds himself with three racy nymphs in skimpy leather outfits complete with laurel leaf trimmed peaked caps. The bright neon sign for Olympus advertising vacancies is whimsical enough. The legendary hero is is transformed not so much into an old man but a scruffy sort of down and out perhaps reminiscent of a disabled and disillusioned Vietnam War vet. When he finally prevails we are supposed to have one of those clever coups de theatre with the illusion of burning arrows striking down his suitors. Sadly this magic trick doesn’t come. The giant shadow of an eagle swooping heralding the triumph of our hero is, however, one of the more successful flourishes. In the title role, Paul Nilon worked heroically to produce a wracked and intense character. While Sara Fulgoni’s Penelope was richly sung it lacked emotional conviction, particular when she is forced to prance around in a society hostess gown seemingly high on something or other. Ed Lyon was a sympathetic Telemaco and was less troubled with any constraints of the production. Similarly Sarah Tynan can be well pleased with her Melanto. Clive Bayley deserves an award for performing in a wetsuit and at times in a bathtub. Yes, it is that kind of a show. Conducting from the harpsichord an orchestra that included contemporary instruments Rinaldo Alessandrini generated elegant playing but the overall feeling of the night was one of razzle-dazzle than satisfaction. In complete contrast the revival, yet again, of Goran Jarvefelt’s production of La Bohème is a piece of music theatre that excels through its clarity and dramatic simplicity. While this 21 year old show is looking a little dated the injection of new singers always refreshes this earthy and unsentimental take on one of our most chocolate box operas. That accomplished designer Michael Yeargan gives us a sparse attic for our Bohemians to work and play out the tale of young love doomed by their adverse circumstances, the corruption of their environment and their own human frailty. And so while there is plenty of sobbing into the tissue there is also plenty of gritty realism with the portrayal of street prostitutes and courtesans, bourgeois morality and compromised lives. Of particular interest was the assembling of a predominantly Welsh cast for this revival led by Rebecca Evans as a Mimi of real vocal substance and an emotionally charged Rodolfo from Gwyn Hughes Jones. Our contrasting pair of lovers was sung by Jason Howard in fine form as Marcello and Charlotte Ellett as a seductive Musetta. This intimate opera requires effective ensemble work particularly between the Bohemians Rodolfo, Marcello and, completing the individually crafted quartet, David Soar’s Colline and Owen Webb as Schaunard. Carlo Rizzi’s conducting generated beautiful orchestral playing and delivered a Bohème that does not fail to satisfy. Fortunately, there are plenty of Welsh dates for this audience-pleasing Bohème. Il Ritorno d’Ulisse, Saturday, September 23, Wales Millennium Centre, Cardiff; Thursday, October 26, Llandudno Venue Cymru. La Bohème, Friday, September 29, Tuesday, October 3, Thursday, October 5, Wales Millennium Centre, Cardiff; Wednesday, October 11, Friday, October 13, Grand Theatre, Swansea; Wednesday, October 25, Friday, October 27, Venue Cymru, Llandudno. |
Reviewed by: Mike Smith |
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