WNO
stephen.walsh
I find it hard to know quite what to make of Ainadamar, Argentinian composer Osvaldo Golijov’s one-act opera about the life and death of the Spanish poet Federico Garcia Lorca, who was murdered in unknown circumstances – probably by Nationalist militia – in the early months of the Spanish civil war in August 1936.Composed in 2003, Ainadamar is described (anonymously) in the Cardiff programme as “a ground-breaking opera for the 21st century.” But in many ways it seems to me something of a throwback, not just to “portrait” operas like Adams’s Death of Klinghoffer or Glass’s Einstein/ Gandhi/ Read more ...
stephen.walsh
If you read the synopsis of Candide - which I strongly advise if you plan a visit to this new WNO production - you may well wonder how it will be possible to get through so much in so short a time. Voltaire’s novella is itself fairly short, but opera takes more time and songs are songs, not action.It can’t be said that everything in James Bonas’s staging of Leonard Bernstein’s operetta is ideally clear; but somehow it manages to chart the eponymous hero’s progress from his Westphalian birthplace, via Lisbon at the time of the 1755 earthquake, Spain of the Inquisition, Montevideo, Eldorado, Read more ...
stephen.walsh
Like certain other opera companies, WNO has leant in recent years towards popular shows of one kind or another. In their case this is not mere pandering to the Valleys coach parties, but a genuine attempt to assert an identity through an exploration of local south Welsh history. Elena Langer’s Rhondda Rips It Up (2018) was a far from studious romp through the colourful life of the Newport suffragette Margaret Mackworth, Viscountess Rhondda. This time they have gone up-valley and, in Blaze of Glory, come up with a sparkling entertainment about the closing of coal mines in the 1950s and Read more ...
stephen.walsh
So why not rewrite The Magic Flute with a new text and a heavily reconstructed plot? After all, the original was just a pantomime, albeit one that embodied one or two big issues of the day (1791), but essentially popular theatre with a text by a well-known comic actor, Emanuel Schikaneder, who sang and acted in the first production.Remodel the plot, by all means. Make Sarastro and the Queen of the Night into an estranged couple who have fallen out over the education of their daughter Pamina. Make Tamino and Pamina into childhood playmates who have lost touch and Papageno into the former bird- Read more ...
stephen.walsh
What, anyway, is The Makropulos Case all about? Is it simply about the horrors of unnatural longevity; or does it expose the limitations of the rational mind confronted by the irrational; is it about love of a distorted ideal, like some updated Hoffmann tale? Or is it simply a well-made play disrupted by theatre of the absurd and turned for good measure into a tragic music drama?The truth is that it’s all these things and more, a work of stunning complexity both dramatically and, especially, musically. And the best thing I can say about Olivia Fuchs’s new production is that it takes account Read more ...
stephen.walsh
If like me you regard the ending of Janáček’s Jenůfa as one of the most moving scenes in all opera, you might care to consider how it would be possible to deflate it in spite of the best singing imaginable. You might, for instance, bring up a back curtain revealing a beautiful garden three or four years on with a sweet little boy gambolling through it, the future product, presumably, of Laca and Jenůfa’s love as opposed to the frozen product of hers and Laca’s half brother Števa’s, recently discovered under the river ice.No surely: too kitsch by half! But that is precisely what happens in the Read more ...
stephen.walsh
If Don Giovanni is not the greatest opera ever written, it’s at least one of the very, very few that even in erratic performances have the capacity to seem it. There was so much wrong, in detail, with WNO’s revival of John Caird’s now eleven year-old production in the Wales Millennium Centre on Friday that one might well have expected the whole marvellous edifice to fragment into nothing much more than a series of Mozartian gems. Yet somehow it stayed intact, and ended by generating a degree of real theatrical and even musical power.Both the problems and the solution were with the music. Read more ...
stephen.walsh
It’s easy enough to see the difficulty Madam Butterfly places your thinking director in. I share her pain. What the whirring brain will quickly see as a penetrating, or at least surface scratching, study of a whole repertoire of modern obsessions – cultural appropriation, colonialisation, child abuse, sexual predation – turns out to be merely Puccini’s latest bout of sublimated girl-bashing, accompanied by some of his most sadistically beautiful music.For Lindy Hume, the director of WNO’s new production, Butterfly is no longer the fragile, accidental victim of a horrid American Read more ...
stephen.walsh
Welcome back, WNO! Yes, emphatically, and with a loud hurrah, which is precisely what the company received, and rightly received, from the somewhat arbitrarily scattered first night Millennium Centre audience for their opening revival of The Barber of Seville. But what possessed their new(ish) General Director, Aidan Lang, to celebrate the return, with all its lively hopes for the future, by digging up Giles Havergal’s 35-year-old production of Rossini’s masterpiece, is a mystery I am unable to unravel.Havergal’s stage-within-a-stage concept perhaps seemed chic and suitably postmodern in 1986 Read more ...
stephen.walsh
It’s not hard to see why The Sicilian Vespers has struggled since its surprisingly successful opening run at the Paris Opéra in 1855. Verdi had composed it reluctantly, despised the librettist, Eugène Scribe, who he regarded as a well-named cynical scribbler, and tried unsuccessfully to get a release from his contract. The result is undeniably patchy, narratively implausible to the point of silliness, and though tight by the standards of French grand opera, nevertheless at least one scene too long.Yet having said all that, one is left with the impression of a work that overall only just Read more ...
stephen.walsh
Considering that Janáček’s Vixen is, among other things, an allegory of the passing and returning years, it’s appropriate that WNO continue to recycle David Pountney’s now nearly 40-year-old production, and that it comes up each time refreshed, with this or that altered or added detail, but quantum-like the same general image. This second night was like a mass family outing, perhaps because of the associated outreach event, the designs for which adorned the foyer. Children all over the place, onstage (of course), and in the audience, helped create a particularly lively, inspiring atmosphere. Read more ...
stephen.walsh
Considering the doubtfulness of its underlying idea, James Macdonald’s production of Rigoletto has shown remarkable staying power since its Cardiff début 17 years ago. It’s true that this particular opera - which, unlike one or two others of Verdi’s, was premiered in its correct Mantuan setting - does to some extent lend itself to relocation in time and place, as Jonathan Miller’s famous mafioso production for ENO once showed. But Kennedy’s White House remains tricky, involving absurdities beyond even those (not inconsiderable) in the original. So why does it survive? I’d hate to think Read more ...