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Piccard in Space, Queen Elizabeth Hall | reviews, news & interviews

Piccard in Space, Queen Elizabeth Hall

Piccard in Space, Queen Elizabeth Hall

Flawlessly bad opera from Will Gregory of the Goldfrapp duo

Will Gregory's 'Piccard in Space': 'The patron saint of bad opera'

I reviewed excerpts of Will Gregory's new opera, Piccard in Space, last year. His funky, plushly Moog-ed, concerto-like suite struck me as rather tasty. I even said that I couldn't wait for last night's fully worked-out operatic world premiere at the Queen Elizabeth Hall. How wrong I was.

I've seen plenty of bad opera in my time. I've seen things that have offended my ears. Things that have offended my eyes. Things so nauseatingly rubbishy they panzer-attacked my nasal cavities and asphyxiated my soul. But nothing has made me want to pick out my cochlea with a blunt 50-page electronica guide or bash in my retina with the edges of a signed Goldfrapp CD case more than Piccard in Space.

Of course there are many types of bad opera. The sort that tries but fails. The sort that has already failed but tries. The sort that neither fails nor tries. This was much worse than those. Piccard is a flawlessly bad opera. It doesn't try to fail. It doesn't fail to fail. It doesn't even just fail. It succeeds triumphantly in its failure. Piccard is the patron saint of bad opera. Name a possible criticism and this opera will be found guilty of it. Patronising to the core, witless to its very end, musically muddled and dramatically adrift, Piccard limps through its mostly pilfered routine and its nauseating attempts at interaction like a kiddy-party clown with bad breath. Worst of all, it raided (without creative licence) both Dr Atomic and Anna Nicole for both its half-baked playschool production and its execrable libretto. And how Gregory has converted a perfectly decent suite of music into musical mess is a mystery.

One flicker of inventiveness (though diffusely delivered) was to be found when, in a jokily (and I use that word very lightly) turbulent scene, the choruses weave fugues in the manner of the turba from Bach's passions. But this was a fleeting and feeble ray of light amid a vast downpour of crap. I shan't name the participants. Most of them are far better than this. I will simply mention that the director of all this gaucherie was the head of the Southbank, Jude Kelly. That she expended her time and judgment on this work proves that the Arts Council were very wise to stem the flow of funds to her pot and reminds us how strange it is that she is at the head of one of the world's finest classical music venues.

It doesn't try to fail. It doesn't fail to fail. It doesn't even just fail. It succeeds triumphantly in its failure

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Comments

Dear me, whats your agenda? thats the most ridiculous review ive ever read,i was there last night and thought it was a terrific performance.Gregory should be applauded for producing such a fine work,blending his style of music with voices to such great affect.You my friend need to take a good look at yourself and ask yourself if you re cut out for a job like this, so obviously cheesed off with Jude Kelly,for whatever reason,and carrying your vitriol into such a lame review.Theres not one mention of the incredible quality of singing,a standard one would be lucky to listen to at Covent Garden,no sir,you are so transparent in your bitterness it screams at you from the screen.Sort yourself out before resuming your "career" as keyboard warrior,we don't need guys like you at the moment thanks.

This is one of the most nastiest, unpleasant reviews I have ever read. Does the writer have some kind of personal animus against Jude Kelly or is this just the vitriolic ravings of a mysogonist white van driver? in which case can he keep his rants to the petrol station forecourt. This kind of journalism does the Artsdesk no favours. I was also at the premier of Piccard in Space and was frankly blown away by the music, staging and the singing. It is a refreshingly innovative opera and I can only hope that someone like the ENO pick it up.

I wasn't at this performance so can't comment on the specifics, however the comments are typical reponses to an Igor review. When this sort of reaction is provoked time after time, one has to ask whether the reviewer is deliberately trying to stir things up, or just writes rubbish because he doesn't know any better. Either way, I think a change of tack- or reviewer- is long overdue.

Well, it made me laugh, except the bit about Jude Kelly. The man has style.

This reviewer is a complete idiot. The reason why most people (wisely) do not write reviews is that it is hard not to let personal prejudices get in the way of a piece of criticism. Talk about failure.... this reviewer has most certainly has failed. I would second the motion of one of the people who has commented on this ridiculous review by saying that it does the Arts Desk no favours at all to have such a man reviewing for them. While one has every right to an opinion about the opera and its staging, this is so wide of the mark that anyone who was there for the opening night can never take this reviewer seriously again. A refreshing look at opera is just what is needed to keep the form alive and William Gregory's piece can take its place amongst those from the last twenty years or so that should stay in the repertoire. The standard of performance last night from all concerned was incredibly high and those present can count themselves very fortunate to have witnessed it. Exceptionally well cast, all on stage can be very proud of their performances. Andrew Shore was superb in the title role, both vocally and dramatically, and his fellow cast members were every inch his match. The BBC Concert orchestra responded brilliantly to the score and the chorus were absolutely exceptional, a far cry from the usual opera ensembles. Will Gregory and Jude Kelly have created a piece of which they can be justly proud. It will join a long list of pieces damned at its first performance, only to be recognised as a great piece of work further down the line. The reviewer should be ashamed of himself for this weak and bitter piece of criticism.

Based on last night's performance and the above review, I would say unlike theartsdesk.com, Will Gregory has a great future ahead of him.

I found this a rather enjoyable piece, playful and light, at times touching, at times wilfully silly. Like it or loathe it I don't think it's an appropriate piece to approach with the kind of earnest pomposity of this critic. There were certainly a few rough edges, and I thought the weakest parts were when he lost his nerve about it being a true opera and fell into rather apologetic poppiness. I'm sure he'll move on to much greater things. To me this was a far more appealing musical and dramatic experience than Anna Nicole.

A stunningly poor piece of journalism. Here's a bad review of the same performance that doesn't read like it was written by an attention-seeking sixth-former: http://www.telegraph.co.uk/culture/music/ opera/8422093/Piccard-in-Space-Queen- Elizabeth-Hall-review.html Read it and learn, and spend a bit of time growing up before you ever put finger to keyboard again.

I really enjoyed this show. Will Gregory's eclectic music perfectly expressed the fear felt by Kipfer in assisting Piccard, the scientific import of relativity, and the relish Piccard and Einstein had at disproving Newton. The libretto smartly set up the conlicts between fear (Kipfer) and bravado (Piccard), and Newton and Einstein (antisexual certainty versus sexual adventurousness providing the psychological start point) also. The main problem with the piece is that too much time (30 minutes maybe) is expended trying to explain relativity itself and how it relates to the balloon trip, which is not intrinsically dynamic, and dilutes the above-mentioned conflicts. A more concise and understandable explanation of relativity, and why ascending into space enables the theory to be tested, could have probably been gleaned from consulting Brian Cox or someone like him. Solve this one problem and this opera is easily the equal of Anna Nicole or any modern opera.

Erm. I'm rather confused. Was this reviewer at the same first night that I attended? I witnessed a gloriously brave and interesting opera about one of the most extraordinary scientific experiments of all time. I am glad to say that the piece wisely reflected that journey in it's innovative style. Gregory's score soared with the balloon's flight and merged beautifully with Hattie Naylor's witty, intelligent libretto. Where else would the Theory of Relativity be so hilariously (and clearly) explained, with the libidinous Einstein and camp Newton making their opposing views felt throughout the evening. This is the first opera I have ever attended where I actually cared about the feelings and fate of the characters. That must, in a large part, be due to Jude Kelly's masterful direction. And as for having a pop about Arts Council cuts being 'deserved'... I am shocked that anyone who cares about the Arts enough to write the above 'review' could even countenance such a thought. It strikes me as a very conservative and Conservative point of view. In my latin dictionary 'opera' means 'work'. And this piece, dear mis-guided reviewer, works.

At least three other reviewers with quite a fine track record in opera were there, Kate C, and they didn't share your rather emphatic reviews (I haven't seen it myself, I hasten to add). You'd better see a few more operas, I guess, as you must have been extremely unlucky.

I was inspired and thrilled, delighted intrigued and challenged, and enchanted by the quality of the music and the performances. What more can anyone want from a night at the Queen Elizabeth Hall? When i go to a performance I want it to fill me with ideas, and inspire me and this performance did that in full measure. i want to see it somewhere again soon please, and I predict a great future for it all over Europe.

Errm, date? Very funny. I guess all the other commentators in on this April Fool's prank as well, right!?

I'm surprised this reviewer so venemously disliked this opera. I enjoyed it. It started with the feel of a comic strip adventure, yet became very moving when disaster seemed imminent. The music was lyrical and lush. It swept me along with the story. There was wit and humour. The audience genuinely laughed at times. Perhaps the reviewer was expecting the opera to be something more experimental than it is. For me it was great fun, and beautifully performed.

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