Royal Opera House Muscat (Oman) with: THE OPERA!

After our first performance at the ROH 29-11-2015 with the Perm Ballet Company presenting an IMO dreadful, old Soviet revival, (see My Opinions 30-11-15) I was fearing that the ROH was just buying in lavish, colorful and dreadfully boring "old shit" productions.

Last December we saw a matinee for children: "A technical view behind the scenes". A ROH production.  I didn't review it.  As a former lighting and set designer, choreographer and director, there was nothing new for me and the script as well as the performers were IMO at least mediocre. Two (actors?) dressed up bad clowns, reading un- or under rehearsed lines from cuesheets in their hands. :( The only funny moments were when they didn't know anymore which side the had to exit the stage, bumping into each other or sets rolling on stage. Clearly unrehearsed accidents.  I have nothing against amateurs, nor improvisation, but I hate unrehearsed amateurism.

But... the house was filled with children! Some clearly interested, some even flabbergasted, and mostly awaiting for the ice cream or lemonade after the performance.  ;) Anyway, it was an effort to get children to the Opera House.  THAT is great! And, it was an own production.  So... I was reluctant to write a review.  After tonight's performance, I had to mention this. :)

And now: my opinion on The Opera! 

First of all, it was the world premiere of a Co-Production ROHM, Palau de les Arts Reina Sofia of Valencia and their opera studio "Centre Perfeccionament Plácido Domingo", and the Torino based communications, entertainment and spectaculars "Prodea Group".  

That said, the word "spectacular" needs in the dictionary the addition ~"like The Opera!" ;)

I will keep it short: 

 cast :young singers, young "aerial performers" (acrobatic mime) and others: Superb!

The creative team: some kind of Geniuses! 

The orchestra: PKF Prague Philharmonic and conductor Steven Mercurio: Brilliant!

Costumes: absolutely great! 

Sets: wow! Simplicity (looking very "opera mattic") optima forma!

Lighting: great! could be by me! :)

Projections/video/cinematography: haven't seen some thing alike since Josef Svoboda's Laterna Magica in Expo 58 Brussels, 1968 revival Antwerp and 1986? in his theatre in Prague. Of course, Laterna was done with 35mm film and 1900 inventions like "the black box" principle. And this is done with Top-of-the-Bill digital techniques. 

A special "Bravo!" for Davide Livermore, the director, chief of creative team!  

So... What is THE OPERA! about??? :)

In short: Orfeo Ed Euridice! :) Now told in a "pastiche", musical like way, with highlights of operas from Monteverdi 1567-1643 to Mascagni 1863-1945, including "greatest hits" from Mendelssohn, Puccini, Verdi,...of course Gluck. (I only missed Offenbach! :/ ) Both finales were from dazzling  Rossini. Anyway, the script was well thought. A few lines were not subtitled because they are actually totally in contradiction with the storyline. But a good (actually brilliant) idea!  

Not yet last, but at least anyway :)  There was one very special thing! Baroque music/opera is mostly accompanied by a "continuo". The harpsichord or earlier by Lute or Guitarone. Tonight Hans Nieuwenhuis and I were absolutely charmed by the continuo in Monteverdi's "Il Lamento Della Ninfa"! Yes, the set, the projections, the singing, the direction, all top class! But there was one absolutely smashing effect: the continuo was not on Lute and/or Guitarone but on Oud. That's the Arabic instrument on without any doubts (IMO) the Italians build the Lute and the gypsies in Spain developed Flamenco.  Some music/instrument historians do tell something else, and I'm not a historian! :) Anyway, the Oud as continuo played by Ziyad Abdullah Al Harbi was smashing! Not only because he was the only Omany in the cast that he got an ovation by Omanies, but from the whole house!  Let's get more of this kind of fusions in classic music and opera! We know it from Somtow's opera Ayuthaya (2016) in Bangkok: A classic symphonic orchestra with fusion of traditional Thai orchestra. Wow! That finale was the greatest thing I ever heard! :) check Bangkok Opera or Somtow on YouTube for the final! :)

And now last: I really hope that the Nationale Opera & Ballet in Amsterdam will reproduce this production! 

For more details and furthermore programming of the a Royal Opera House Muscat, check www.rohm.om 

Macbeth, Opera Spagna, top!

Alvast : Gaat dat zien!

Ik ben al weken zwaar ziek en dacht op weg dat ik dan maar in de auto moest blijven. Aangekomen, wankelend dacht ik : shit, weet shit. ... Maar nee! (Ik heb wel vraagtekens in bepaalde K3 interpretaties) het was een Deutsches B opera theater Dubbel en dik waard! De hele productie! Zou zelfs menig A theater kunnen inkopen!  Mits theater met Verzenkungen. Regie: (in deze conceptie) bijna geniaal!  echt bijzondere vondsten! (Is nogmaals binnen deze conceptie!) De cast? Misschien geen wereldsterren, maar allemaal méér dan een weiland waard! 

Er komt nog een uitgebreid verslag eerdaags als ik niet zo ziek als nu ben!  Nogmaals: GAAT DAT ZIEN!  Echt! (Sorry voor de cast en team dat ik nu omval en niet nader in details kan gaan!) 

Één ding wil ik nog verklappen: gepland of toeval: terwijl de zon onderging, tijdens ( schitterende) Lady Macbeths eerste aria: verscheen er achter de bomen in de verte een echte volle maan!  Gewoon niet technisch na te bootsen! (Foto's: de maan in het decor begin pauze!) 

COSI FAN TUTTE Première in Enschede door NDRLNSE REISOPERA

Dinsdag 9 februari 2016, Enschede, Wilminktheater, Nederlandse Reisopera.  

Foto: afterparty met Daniel met Robin Coops en Hans Nieuwenhuis.

Waar te beginnen.... Okay, good news first! :)  vocaal was het méér dan gebruikelijk goed!  Jonge zangers die in mijn perceptie niet voor elkaar onder hoefden te doen. Nee echt, ik ga de namen niet oplepelen, de hele cast was meer dan verwacht en de ballans voortreffelijk.  

De muziekale directie: hoewel het Orkest van het Oosten voorzover ik niet wegdommelde kon het hoge tempo buitengewoon goed in de rails houden. Zoals ik net schreef: voor zover ik iet wegdommelde, en dat was de hele eerst akte na 20 min het feit! Wat oer en oer saai!  Overigens ook deel 2, maar toen was ik wakkerder.  Langzaam is niet te pruimen, maar alles in hetzelfde hoog tempo is voor mij dodelijk saai.

Komt natuurlijk de regie die mij na afloop nog eens nadrukkelijk uitgelegd is. :(  Oep zijn Vloms gezegd: "Dien uitleg is wel goe, mor de speculaas deugd niet! " ;)  Alle uitleg heb ik gemist, niet gezien. Maar als je 3/4 van de tijd zit weg te dommelen is het niet verbazingwekkend natuurlijk als je de Turing points gemist hebt. Hoewel, ik was juist op die momenten wèl wakker, maar ik zag het niet.

De Alder Brothers werden in de VS per definitie Euro-trash directors genoemd, en, soms terecht. Maar wat ik voor trash, vuilnisemmers vol op het toneel omgekieperd zag.... En het werdt met de minuut erger, ook in akte 2, het was zo erg dat ik mijn ogen sloot. En probeer met kappelmeister tempi er dan niet bij in slaap te vallen. :( 

Hoevaak heb ik Cosi in afgelopen 50 jaar wel niet gezien? Ik durf het niet te zeggen. 40? Er is er maar één die mij glashelder bijstaat: Aix en Provence door Patrice Cherau! Hoewel hij -bewust?- het slot acte 1 copieerde van zijn Bayreuther Rheingold, die productie met decors van onafscheidelijke Peduzzi, was gewoon geniaal!  (Wagner vond Cosi flut. En dat kan de link zijn die Cherau -na het uitfluitconcert bij Rheingold première-  in Cosi bracht.  Maar zo mooi als Peduzzi's decor, zo erg vond ik dit decor en over de costumes wil ik het niet eens hebben, noch de belichting van de halve schoendoos. :( Bah, bah, bah! 

Maar toch: de stimmliche kwaliteit, en ze acteerden (als er iets te acteren viel) ook best! Dus, aan de zangers en het Orkest van het Oosten (dat vaak niet voorui te branden is/was) lag het niet. :) En tot slot: de foto's in het programma waren echt bijzonder!  Kunstwerkjes om in te lijsten! :)

THE FOUNTAIN OF BAKHCHISARAI

"THE FOUNTAIN OF BAKHCHISARAI"

(music by Boris Asafyef 1884-1949)

By the Perm Ballet Company

at the ROYAL OPERA HOUSE MUSCAT (Oman) 29 November 2015

I Usualy don't use "hate" in my vocabulary, but Jeez, I really hate that Soviet theater and this kind of "Drama ballet" especially! Omg!  Okay, the positive things first! 

It was very clear that the technical quality of all ballet dancers was very high! The program tells us that Perm is amongst the Bolshoi and Marinsky (former Kirov) top ballet companies of Russia.  Could be true! I haven't seen any of them the last 30 years.  The sets and costumes, copies of the 1934 Kirov World Premiere production were "lavishly" done. The pinks and turquoise, the red - blue -orange - canary yellow and the whiter than white costumes were all over the place, especially in act one. :D  

The sets, mainly flat, hung, and with a deep perspective were another Lenin or Stalin award worthy. The story after a poem by Pushkin - if you like hopeless stories - might make you sobbing. So, what can I say...

It was ABSOLUTELY not my cup of tea! The choreography was bluntly IMO awful, almost a parody.  The program tells us that the original choreographer was a master of his time? :/  Perhaps he was in those Soviet 1930's days, but today... :(  I have REALLY no clue why they've put this awfull work back on their repertoire. :/  There is a strong suggestion that this was the original 1934 choreography but I really question that. Who knows the original choreography of a piece that hasn't  been in repertoire for 80 years? It's possible that there's some Kirov film footage in the archives of the now Marinsky theater, but I guess that it would be mentioned if there was original footage. 

The program book is nevertheless interesting if you like history! :)  About the composer - I've never heard of - : he composed 28 ballets, 11 operas, dozens of symphonic and chamber works, wrote books and articles on various (mainly Russian) composers like I.e. Tchaikovsky among others, was honored with many distinguish prices by Lenin and Stalin,... <sigh>  Confirming my disgust for the man's music. I found the music absolutely awfull!  Bombastic, simplistic and BORING!  

Okay, to end: 

This experience was an experience on its own! :D  

The acoustics of the Royal Opera House at row 8, dead center of the house (if not with electronic reverb enhanced) were absolutely great. 

The Omanis are very nice, friendly and helpful people and so were the ushers! :) 

It's likely the safest opera house: you have to go trough metal detecting porches and purses have to go trough an X-Ray device just like at airports.  No, no kidding! The first time it was a big surprise and I had to go back 3 times before I was cleared! :D  

A young girlfriend of us tonight, had to ware a kind of cape because her beautiful black cocktail dress wasn't long enough! :D  Oh well... paradise on earth doesn't exists! ;)

(More pics : we had a private, guided tour of the theatre 3 days ago!)

Succes in opera doesn't come out of the blue skies

Tonight I attended the Holland Festival Premiere of the unknown opera "Don Chisciotte in Sierra Morena" by unknown composer Francesco Bartolomeo Conti.  Unknown unless you are a Barocque freak or happen to be in opera or old music.  So, I wanted to write a review right after the performance but I actually wanted to know some more about the work before writing my review and meanwhile...  oh, no...facebook and gays dot com and tweets and .. and .... over 100 msgs...   So I replied to some of the msgs first... finding Brenden Gunnel's msg with the link to a review. 8-) 

Well...  I need to read somethings about Don / Conti before I write about it, so let's promote Brenden's review first!  (If you cannot read German, try Google translation! Yep, as usual, it's still bad. But it gives a good idea of what was written!)  O yes! Don Chisciotte was long but fantastic! :)




Komödiantisches Talent beweist Tenor Brenden Gunnell bei Strauss’ Krämerspiegel. Foto: sehr


Wer, wenn nicht „Sänger“-Intendantin Brigitte Fassbaender sollte noch aus einer doppelten Absage einen kleinen Triumph zaubern? Leicht geknickt erschien die Chefin des Richard-Strauss-Festivals am Donnerstag auf der Bühne des Kongresshauses. Die Absage von Tenor Pavol Breslik, der wegen einer geprellten Rippe nicht singen konnte, hatte sich bereits herumgesprochen. Bariton-Kollege Michael Volle, der sich spontan bereit erklärt hatte, für seinen Münchner Onegin-Partner einzuspringen, sagte dann aber am Konzertmorgen ab. Der Albtraum jedes Veranstalters.

Doch Fassbaender spähte zu ihrem Haupthaus, dem Landestheater Innsbruck, und fischte aus dem Ensemble einen jungen Tenor, der das Garmisch-Partenkirchner Publikum zum Jubeln brachte: Brenden Gunnell. Der flachsblonde, sympathische Amerikaner, auch Schüler seiner Chefin, hatte genau das Passende im Repertoire: Richard Strauss’ Krämerspiegel, jene virtuose, witzige, ironisch-beißende Abrechnung des Komponisten mit den Verlegern. Kein Geringerer als Alfred Kerr fertigte dem erbosten Strauss die Texte zu diesen zwölf vertraglich zugesagten Liedern, die Bote & Bock beim Komponisten, der gerade den Rosenkavalier vollendet hatte, sogar gerichtlich einklagte. Strauss und Kerr reagierten mit galligem Humor, den sich nun Brenden Gunnell genüsslich auf der Zunge zergehen ließ.

Der junge Amerikaner weiß, was er singt und kann mit dem Text hervorragend umgehen. Auch wenn beim Krämerspiegel nicht - wie zuvor bei den Schubertliedern - jede Silbe genau transportiert wurde, den Kern traf Gunnell mühelos. Und da der komödiantisch „agierende“ Sänger auch mit den Höhen und Tiefen, die Strauss dem Tenor abverlangt, keine Probleme hatte, amüsierte sich das Publikum vorzüglich.

Brenden Gunnells leicht baritonal gefärbter, direkter, schlanker und doch dramatisch kraftvoller Tenor entwickelte sich im klug aufgebauten Programm bestens. Immer nah am Wort, wagte der junge Sänger fahle Farben, setzte auf riskante Tönungen um Depression und existentielle Bedrohung („Kriegers Ahnung“, „Am Meer“, „Der Doppelgänger“) spürbar zu machen. Die Stimme folgte ihm, trug, blieb in der Spur, auch wenn er ganz auf Ausdruck zielte. Mit vollem Klang und opernhafter Dramatik stattete er dagegen den „Atlas“ aus und schaffte es, auch am Schluss bei den Zugaben noch einmal den Schalter umzulegen: Vom satten „Habe Dank“ der Strauss’schen „Zueignung“ zurück zur anrührenden Zartheit von Schuberts „Wiegenlied“. Großer Beifall und große Begeisterung für den mutigen Einspringer.

Gabriele Luster  (foto and article from/at merkur-online.de Der Triumph des Tenors )