I love opera on this scale, in a small, packed theatre with just five singers and three musicians so that you hear every note and every word clearly. The smaller scale doesn’t mean it’s easier for the singers, in some ways quite the reverse, particularly as it places much greater pressure on the singers to act naturally despite singing their heads off. I’m glad to say Louisa Tee as Violetta and Philip Lee as Alfredo both acted as excellently as they sang and Andrew Mayor as Alfredo’s father was also very good. The action was moved forward to the 1920s with a new English libretto by Robin Norton-Hale. The plot was necessarily simplified with basic scene changes but these were easily outweighed by the overall quality of the production, as shown by the massive applause at the end. It is deservedly selling out fast and casting changes each night so you might not get to see the same line-up as I did, but this is the third production by them that I’ve seen and I’ve never been disappointed. If you like opera in English, it’s also worth noting that, unlike the ENO at the Coliseum, the Soho Theatre has excellent air conditioning and plenty of knee room!
Maybe I do like Puccini after all! I certainly enjoyed this very small scale production (five singers, three musicians) more than the might of the ENO. I hadn’t expected to – I saw the OperaUpClose version of Britten’s Turn of the Screw which was terrific but that was a chamber opera to start with and only had five characters anyway. In the event, this was terrific. The updated libretto placed it in East Germany shortly before the collapse of Honecker’s government which suited the plot well. The good value programme (£3) included the full English libretto but every word was clear (no need for surtitles here). Grab a ticket while you can – it finishes this Sunday. My only complaint is that the programme lists both casts, two singers per role, so it wasn’t clear which singers I saw and I can’t credit them – Scarpia was particularly excellent.
I have been a Friend of the ENB for a couple of years (really good value if you are over 60) but only just got round to attending one of their open days. I should have done so earlier: it is an astonishing experience to be part of a small group (limited to ten) sitting in the rehearsal studio at Markova House while they practise. I was lucky enough to see a number of principals in duets from Sleeping Beauty, followed by Shiori Kase rehearsing for her performance in Diana and Acteon at the Emerging Dancer awards. To have dancers so close that you find yourself moving your feet out of the way (probably unnecessarily) is a very different experience to seeing them on stage (especially if you sit as far away as I usually do). Despite my comments on the importance of the music in ballet, it hardly matters in these circumstances that there is just a piano to accompany them. I also thoroughly recommend going to small theatres to see opera and plays. OperaUpClose, usually at the King’s Head but also touring gave an excellent, very involving performance of Britten’s Turn of the Screw a year or two back, whilst I’ve already said how much I enjoy plays at the Orange Tree and Pentameters.