Performing Arts News

Described as ‘a sparkling triumph’ by the Telegraph and awarded **** by both The Guardian and The Times, Annabel Arden‘s new production of La Bohème for Welsh National Opera is not to be missed. The Observer hailed it as ‘unshowy but radiant and affecting…Arden takes few liberties with the story yet tells it powerfully, which is the best you can ask.’ The orchestra  was ‘sensuously conducted’ by Carlo Rizzi and the production is set by Stephen Brimson Lewis in a belle époque Paris Puccini might have known, with striking projection effects designed by Nina Dunn. Fiona Maddocks was also impressed with the casting of the young Bohemians, the ‘direct and pure-voiced’ soprano Anita Hartig, in her UK debut as Mimi, and Kate Valentine’s ‘extravagant, luscious Musetta’ – and was moved to tear’s by tenor Alex Vicens’ rendering of  O soave fanciulla. The review in the  Birmingham Post forecasts that ‘WNO’s new ‘Bohème’ will be drenching hankies for years to come’, saying  ‘everything in this production serves the drama; and when Puccini’s delirious love-songs collide with Arden’s shimmering, wintry stage-pictures, the result is enchanting’. In the Telegraph Rupert Christiansen said: ‘Fresh, open and heartfelt, Annabel Arden’s lovely new production of La Bohème is marked by a filmic fluidity and simplicity. …There are no tricks, nothing seems faux or grafted. But Arden’s unassertive direction makes the joy and disillusion of these young people real and their tragedy immediate.’

Alex Eales has designed authentically 18th  century country-house set and costumes for Mozart’s Cosi fan Tutte at Opera Holland Park. Giving the production five stars in the Standard, Nick Kimberley said:  ‘Alex Eales’s designs are dressed for the 18th century, and the cast acts convincingly within them. Better still, they sing well, their command of Mozart’ s style both elegant and eloquent.’ Read the full review: http://www.standard.co.uk/arts/music/cos-fan-tutte-opera-holland-park–review-7835887.html The Stage were also enthusiastic:  ‘This is a polished and pacey display, buffed to perfection by director Harry Fehr.’ http://www.thestage.co.uk/reviews/review.php/36448/cosi-fan-tutte

Robert Carsen’s new production of Verdi’s Falstaff, which transposes the 1590s into the 1950s – one Elizabethan era to another, opened this month at the Royal Opera House, with costumes designed by Brigitte Reiffenstuel. Confessing that she enjoyed this ‘buoyant and vivacious production’ more than she expected, Fiona Maddocks in The Observer noted how ‘Brigitte Reiffenstuel’s costumes delight in tweeds, twinsets, hat pins, ruched gloves, pinched waists and big skirts.’ Mark Pullinger, reviewing for Opera Britannia, thought it a ‘must-see’ production, saying: ‘Brigitte Reiffenstuel’s tweeds and scarlet foxhunting jackets replacing traditional doublet and hose. I cannot remember the last time I enjoyed a new Royal Opera production quite so much.’ In another warm notice, for the Telegraph‘s Seven magazine, John Allison remarks how ‘Brigitte Reiffenstuel’s costumes make playful use of retro colours.’ Although not convinced by Carsen’s interpretation, the Financial Times thought that ‘Set and costume designers Paul Steinberg and Brigitte Reiffenstuel have had a ball.’

In one of the many glowing reviews for this new production of Chekhov, Susannah Clapp opened her review for The Observer  by noting the impact of Bill Dudley‘s design: ‘Lucy Bailey’s lovely Uncle Vanya is played in the round and with a twist; the oatmeal and fawn design by William Dudley hangs family portraits at the back of the audience so that the spectators are seated within the set, locked in with the actors, encircled by the sound of chimes and horses’ hooves and tremendous thunder.’ Dudley’s design was also mentioned in both The Stage and a particularly enthusiastic review for What’s on the Fringe: ‘William Dudley’s design is beautiful. The transitions between scene changes were masterful and engaging. Other four and five star reviews included: ‘Comical and exhilarating, this is Chekhov at his masterful best’ ***** The Times ‘A witty translation, an evocative, claustrophobic setting, performances that hum with trapped energy – this is great Chekhov ‘ **** The Financial Times ‘Lucy Bailey’s production of Uncle Vanya is the funniest and most vehemently volatile in mood of any account that I have seen of this great play’ **** The Independent The Arts Desk elaborates on the effect of the setting and scene changes: ‘William Dudley’s set places us in the all-purpose interior of the family farm, the anarchic clusters of chairs, tables and sofas mirrored in the disparate characters who must inhabit this shared space. Set-changes are scored to a clamour of bells, horses-hooves on cobbles, shouting, while carefully choreographed furniture-removal becomes a dance. Yet such demonstrative shifts only serve to stress the stasis of the play; noise and rush there may be but it remains elsewhere, beyond the four walls that still enclose us each time the lights come up on a new scene.’ In the light of its warm reception, The Print Room hope to bring the performance back in the autumn.