Opera in Ireland - general discussion thread on all things opera in Ireland

westtip

indeed WTF.

I no longer even consider going to opera in ireland. Ryanair is factored into every trip to the opera now

purebeta

Rusalka looks pretty good at the Gaiety...
Although a bit pricey, similar rates to T&I if my memory serves me.

Fluorescence

Sandwlch wrote: »

WTF :
http://www.operaireland.com/



And,


Am I a closed minded dinosaur thinking that putting money into new opera in Ireland is a terrible waste of the negligble resources available, it appealing only to a very small subset of the already miniscule operagoing population on this island ? I wont be there but wish it well nonetheless and interested to hear from anyone what sort of crowd it gets
http://www.wideopenopera.ie/

Certainly doesn't help the opera scene in Ireland at all. They'd have been wiser, IMO, to band with another company and pool their resources. Still, I hope they do well.

The Green Pixie

Got back from Berlin last night after a fantastic trip with the Dublin Bach Singers.
We got our opera fix with a sensational performance of the Marriage of Figaro at the Konzerthaus (also called the Schauspielhaus).
http://en.konzerthaus.de/programm/saisoneroeffnung-le-nozze-di-figaro/987

It was a kind of "semi-staged" concert performance. Orchestra in 2 halves on stage with a kind of raised platform in the middle with a big clothes rail for props ets. Very clever production, extremely well done with very simple resources. Much better than some embarassing Eurotrash.

Spirited conducting from Ivan Fischer, fantastic orchestra, and above all, fantastic singers. Miah Persson did the best "Dove Sono" EVER. Sublime voice, but managed to sound agitated at the same time. Many sopranos sing this as if they are singing in church, but it's actually at a low point in the opera for the Countess and has to be anguished.

I had been up since 4am as I got a very early flight. By the time we got to the hall I was wrecked, but came out on a total high. That says more for the performance than any detailed post mortem.

westtip

Glad you enjoyed it. I was lucky enough to see the sublime Figaro at Glyndebourne in June. Pure bliss. Some of the most spiritually uplifting music ever written is contained in that opera, I know we all like to see new stuff and expand the repertoire, but a Good Figaro is surely one of the best tonics the human soul can experience... :-)

Sandwlch

The Green Pixie wrote: »

Much better than some embarassing Eurotrash.

Berlin is phenomenal. The polar opposite of Dublin. You have a multiple choice of opera every night of the year.

Le Nozze, yes, truly incredible. Cosi just pips it for me though, but both are out on their own at the head of the opera world. At the head of the music world. At the head of the art world. At the head of the human achievement world.
(Don Gio is very fine and has great drama, but cannot match the other two for pure music)

The Green Pixie

Sandwlch wrote: »

(Don Gio is very fine and has great drama, but cannot match the other two for pure music)

I love all the Mozart operas (well, all the ones that I know, that is), including Don Giovanni. The "going to hell" scene is quite astonishing in my opinion.

My problem with it is Don Ottavio, who goes round the place the whole evening whining about "mio tesoro", and Donna Anna, who goes round the place the whole evening banging on about "mio padre".

Two such incredibly boring characters. In the other operas (particularly Figaro), all the characters contribute something substantial to the proceedings.

westtip

Sandwlch wrote: »

Berlin is phenomenal. The polar opposite of Dublin. You have a multiple choice of opera every night of the year.

Sand don't think comparing Dublin and Berlin is entirely fair! Maybe Dublin and Glasgow, A company like Scottish Opera has always been my benchmark to compare for what Ireland could achieve in Opera - but it would have to be on an all ireland basis - What do we have at the moment, an absolute dogs basket:

IN the north the fledling NIOpera - which only really came about as a result of Cullen killing off NI AC grants to OTC when he pulled the rug from under them

Here we have OTC - struggling to try and offer a national opera company,

Lyric now dipping into the AC funds for one or two productions

The new outfit that put on the borrowed Tristan Wide Open Opera

Wexford is probably outside this mix match.

But what does it all add up to? In the ROI we have three separate opera companies trying to put on regular opera plus the WOF. It is just a typically disorganized chaos that adds up to nothing in terms of critical mass. A single vehicle for national opera (and I am not advocating resurrecting the now defunct OI) across our small 32 counties is the only way to go....

Lets debate this again and have a think about what we as opera goers can do.

The Green Pixie

You can't compare Berlin with Dublin, but you can compare it with Ireland.
Berlin has 3.5 million inhabitants. The Republic has something like 4.3 million, plus about 1.5 million in NI.
That should be enough people to support 1 fully functioning opera company.

Sandwlch

westtip wrote: »

Sand don't think comparing Dublin and Berlin is entirely fair! Maybe Dublin and Glasgow, A company like Scottish Opera has always been my benchmark to compare for what Ireland could achieve in Opera

To be fair I was observing how they aren't really comparable at all (or really just envious of Pixie's being there for a fine Nozze!).

Yes Scotland is a good benchmark for Ireland, and yes we really have ended up with a terrible situation now, even by our own low standards.

Opening thoughts :
- there should be ONE opera company, plus WOF getting whatever funds are available from the AC
- ideally one company, or a very integrated joint venture, on the whole island. Not sure how practical that is. But it would be in the interest of opera goers both north and south.
- no more touring to the small towns of Ireland. Fundamentally Dublin and Belfast according to the number of nights each can pull an appropriate crowd. And Galway, Cork, possibly Limerick, as occasional one night performances.
- formal partnership with one of the existing orchestras, whether RTE ones or the likes of IBO.
- a mix of the popular standard repertoire and the slightly non standard. Much as we might like to explore the rarities - leave that to WOF or we fans have to accept going abroad for it. It will not attract the general public which will determine the overall success and critcal mass audience to develop and sustain regular opera. Equally, it must be extended slightly : there is only so much Boheme and Aida even the occasional visitor wants. So push it to the top 50 or so performaned operas. The old OI made good choices on that front even if the standard didnt deliver.
- petition the minister and AC to push this agenda.

banjobongo

I see that there will be some new Ellen Kent productions coming to our local theatre (UL Concert Hall in Limerick), of Aida and Nabucco, in October.
Any feedback on whether these will be worthwhile going to?

Sandwlch

banjobongo wrote: »

Any feedback on whether these will be worthwhile going to?

Unlikely unfortunately. Low grade 'musical' troupe 'does opera' kind of thing. Cringy production gimmicks included. I dont think it s aimed at opera goers.

westtip

Sandwlch wrote: »

Unlikely unfortunately. Low grade 'musical' troupe 'does opera' kind of thing. Cringy production gimmicks included. I dont think it s aimed at opera goers.

Agreed!

The Green Pixie

Is anybody going to Wexford this year?
I'm going to "Cristina Regina di Svezia" on November 3rd.
Don't know the slightest thing about the composer or opera, and that's how I like it. A clean slate.

marienbad

The Green Pixie wrote: »

Is anybody going to Wexford this year?
I'm going to "Cristina Regina di Svezia" on November 3rd.
Don't know the slightest thing about the composer or opera, and that's how I like it. A clean slate.

I am going to all three, already have listened to the cds quite a few times so I am well prepared, and that's how I like it. A well muddied slate .

The Green Pixie

marienbad wrote: »

I am well prepared, and that's how I like it. A well muddied slate .

That's how I normally like it, but in Wexford I enjoy the incredibly rare experience of going to an opera about which I know absolutely nothing.

wexoperafan

Has anyone on here seen or heard anything about Rusalka so far ?

Supposed to be going tomorrow, but am a bit under the weather, and wondering will it be worth the journey.

Cheers

Wex

Sandwlch

wexoperafan wrote: »

Has anyone on here seen or heard anything about Rusalka so far ?

Supposed to be going tomorrow, but am a bit under the weather, and wondering will it be worth the journey.

Cheers

Wex

Dont miss it.
Excellent. Lyrics finest production to date.
It will cure your under the weatherliness.

wexoperafan

Really glad I went.

Best thing Lyric have done by far !!
Loved the production and the singing and orchestral playing was excellent.

Feeling a lot less under the weather that I had been:)


Wex

Sandwlch

Finally getting to post a little more on Rusalka.

It deserves to not pass by unnoticed, could even be regarded as a coming of age for Lyric opera, and (I am an optimist) maybe an indicator of a way forward for Irish opera.
The move across Stephen's Green has been very much for the good. The Gaiety is the right capacity, in town, and has a stage. The barns of the Helix and GCT were built more for the Mama Mia's of the world and its a pity that we ended up with two venues of the same type rather than one that could also be suitable for opera and the crowds likely to attend. The weakest point in the Gaiety is the orchestra acoustic. Frankly bizarre and with a different 'problem' in each area. 'Muddy' the prevailing flaw. Helix and GCT both imperfect on that front also however. The bottom line is the Gaiety is the best overall that we've got.

This production comfortably upped on both Aida (good) and Traviata (less than good). The orchestra played well in a very rich score. The stage production was very good. Lyric has squeezed a lot out of almost impossible raw materials in the stageless NCH in the past. But the fuller capability of the Gaiety stage really paid off and showed what they can really do. It would have stood up well in many well regarded 'smaller' European opera houses. Ensembles and stage effects were good and stayed on the right side of engaging without tipping over into gimmckry.
But the big step up this time was in the consistently good level of the soloists. Lyric has let itself down in the past (I guess promoting young or local potentials?) with some poor or even amateur sounding performers who even in minor roles, should not have been put in front of an audience paying to hear them. I would not single any of the Rusalka cast out - and that is a good thing - they ke was they were all competent and none either dominated or let down the production.

With the right mix of the known, the accessible, and a slightly boundary pushing choice of opera, we may have seen something that could sustain 3 or 4 well attended and good quality operas a year in Dublin.

Note that it was €80 for almost all the tickets, with a handful in the gods for €65 I think. So expensive for its standard. Well attended on the Friday night I was there nonetheless. But I guess a minority interest artform, in a small city of a bankrupt country should be more expensive than elsewhere. I would still prefer to have this option, rather than paying 30 or 40 for garbage knowing it has also taken some of my tax contributions to Arts Council funds into the bargain.

More please Cavaliere !

westtip

Wow €80 a ticket! Compare that with WNO!

Sandwlch

Yes, €80 and it does feel steep. Especially since also no gradation 30-50-70 etc as used to be the case in the OI days there.

Hence my attempt to justify it a little, however much I would have preferred to have only paid €30something which I think would have been more correctly comparable with other countries for the standard on offer.

Opera is simply expensive. The state is just not going to contribute much to it here for the foreseeable. Nor can we expect sponsorship from the blue chip companies and investment banks that seem to fund it elsewhere in the world - opera simply doesnt have sufficient appeal, cache, or attract the 'elite' or moneyed classes in Ireland. And so it is too niche and doesnt appeal to those corporations to patronise it.
And we are an expensive country - so also without the lower costs that still allows decent quality opera to be produced in many eastern European countries (though I suspect those opera companies will come under pressure also as costs rise in the coming years).

Wexford is not cheap either, despite a loyal and more or less guaranteed core following. And while the standard there is generally very good, it is not so exceptionally outstanding, nor showcasing the superstars (not that that is the be all and end all of either course - but its can help).

Nevertheless, I think Rusalka was pretty well attended. As were a few of the touring productions put on in the GCT despite highish prices there also.

By all that, I am really just observing, that despite it feeling an expensive night out, unfortunately €80ish is probably the real price of decent standard opera in Ireland, but that even at that price, if done well, there is probably a sufficient number of followers to support it for a few productions a year.

westtip

Sandwlch wrote: »

Yes, €80 and it does feel steep. Especially since also no gradation 30-50-70 etc as used to be the case in the OI days there.

Hence my attempt to justify it a little, however much I would have preferred to have only paid €30something which I think would have been more correctly comparable with other countries for the standard on offer.

Opera is simply expensive. The state is just not going to contribute much to it here for the foreseeable. Nor can we expect sponsorship from the blue chip companies and investment banks that seem to fund it elsewhere in the world - opera simply doesnt have sufficient appeal, cache, or attract the 'elite' or moneyed classes in Ireland. And so it is too niche and doesnt appeal to those corporations to patronise it.
And we are an expensive country - so also without the lower costs that still allows decent quality opera to be produced in many eastern European countries (though I suspect those opera companies will come under pressure also as costs rise in the coming years).

Wexford is not cheap either, despite a loyal and more or less guaranteed core following. And while the standard there is generally very good, it is not so exceptionally outstanding, nor showcasing the superstars (not that that is the be all and end all of either course - but its can help).

Nevertheless, I think Rusalka was pretty well attended. As were a few of the touring productions put on in the GCT despite highish prices there also.

By all that, I am really just observing, that despite it feeling an expensive night out, unfortunately €80ish is probably the real price of decent standard opera in Ireland, but that even at that price, if done well, there is probably a sufficient number of followers to support it for a few productions a year.

Sand I take all your points on board, but rolling the dice for €80 is making is socially exclusive. Especially €80 for any seat in the house (was this correct), it goes against the grain of selling tickets in different parts of the house at variable prices which is standard in any form of entertainment. Even Wexford dropped their one price any ticket policy with the new theatre.

There are plenty of tickets in Covent Garden less than €80, WNO top priced tickets - take their Maria Stuarda in November - tickets in Birmingham from £48 (circa €60) down to £16 (circa €20); Opera is now even more socially exclusive in Ireland than it ever was. I live in the north west would I seriously risk travelling to Dublin with the cost of diesel and pay €80 for any old ticket in the Gaeity? No i wouldn't. With something to eat, diesel and staying overnight (ok no cost there as with a relative) and the time involved, the cost could run into €200, with flights from Knock in the off season period so cheap I could almost do a trip to Birmingham or even London for the same price!

I'm glad it was a good performance, because I like Vivian Coates at Lyric, he has a pure dedication to opera and enthusiasm which if it could be bottled as an elixir could save this country from its current woes, but I am afraid €80 a ticket to roll the dice is simply not on the agenda!

Oh if we only lived in a country in which subsidising the arts was seen as a natural thing to do in a civilized society.....LOL

clunked

westtip wrote: »

Oh if we only lived in a country in which subsidising the arts was seen as a natural thing to do in a civilized society.....LOL

The elite here would rather spend it on racehorses unfortunately.

marienbad

Just back from Wexford- a most enjoyable year, Overall production values were the highest I have ever seen there.

No outstanding opera such as last year's Village Romeo and Juliet but all three nights had something to offer .

A huge amount of empty seats every night and spectacularly so for the Massenet. Is it the recession , the prices , both ?

westtip

marienbad wrote: »

Just back from Wexford- a most enjoyable year, Overall production values were the highest I have ever seen there.

No outstanding opera such as last year's Village Romeo and Juliet but all three nights had something to offer .

A huge amount of empty seats every night and spectacularly so for the Massenet. Is it the recession , the prices , both ?

Yes I have heard good reports but not going this year - yes due to belt tightening. A friend of mine who comes over every year from the UK drew a line under it this year - he told me - when he costed the whole trip out it came out at nearly €2,000, with travel, hotels, meals, car or public transport, tickets etc, and having come every year for 15 years he gave it a break. People are thinking like this - particularly those of us working for a living.

For me personally a trip to Wexford costs as much as say going to see Juan Diego Florez at the ROH in Fille du Regiment, What would I rather do, Risk a €300 round trip to Wexford for one night (Diesel/petrol, overnight accomodation, meals, opera tickets), to see an opera that is long forgotten for good reason or get tickets for the ROH for said show at less than £30 (yes side Ampitheatre), a Ryanair flight for about the same, and hotel for one night, total round trip about €100.

I think Wexford has its problems in trying to maintain its raison d'etre - to discover gems that have been forgotten - it is not an unlimited mine, and maybe there just aren't that many undiscovered operas (worth performing) left in the cupboard. You mention last years a Village Romeo and Juliet - this was hardly an unknown opera I saw it in the early 1980s with Opera North in Leeds. It was a success last year because it is actually a tried and tested opera (OK not performed that often).

Also the new theatre - whilst wonderful may have actually taken some of the charm away from the festival, Wexford is now just another "new theatre" - good though it is but a lot of regulars would have come to see the new theatre, tick it off and then maybe say OK been there seen it done it. I had discussions with senior management at Wexford 3 or 4 years ago about ways they could re-ignite the festival - one suggestion was to revive some of the best revivals from past festivals - that got performed at Wexford and then once again got forgotten. To keep a festival alive they need to look at where they are going to go - this idea is one which I think would work for them and may bring back some festival goers who want to see a particular opera again.

They have to do something if what you say about empty seats is true.

The Green Pixie

I'm going to see Cristina Regina di Svezzia on Sunday.
Will report back next week.

marienbad

westtip wrote: »

Yes I have heard good reports but not going this year - yes due to belt tightening. A friend of mine who comes over every year from the UK drew a line under it this year - he told me - when he costed the whole trip out it came out at nearly €2,000, with travel, hotels, meals, car or public transport, tickets etc, and having come every year for 15 years he gave it a break. People are thinking like this - particularly those of us working for a living.

For me personally a trip to Wexford costs as much as say going to see Juan Diego Florez at the ROH in Fille du Regiment, What would I rather do, Risk a €300 round trip to Wexford for one night (Diesel/petrol, overnight accomodation, meals, opera tickets), to see an opera that is long forgotten for good reason or get tickets for the ROH for said show at less than £30 (yes side Ampitheatre), a Ryanair flight for about the same, and hotel for one night, total round trip about €100.

I think Wexford has its problems in trying to maintain its raison d'etre - to discover gems that have been forgotten - it is not an unlimited mine, and maybe there just aren't that many undiscovered operas (worth performing) left in the cupboard. You mention last years a Village Romeo and Juliet - this was hardly an unknown opera I saw it in the early 1980s with Opera North in Leeds. It was a success last year because it is actually a tried and tested opera (OK not performed that often).

Also the new theatre - whilst wonderful may have actually taken some of the charm away from the festival, Wexford is now just another "new theatre" - good though it is but a lot of regulars would have come to see the new theatre, tick it off and then maybe say OK been there seen it done it. I had discussions with senior management at Wexford 3 or 4 years ago about ways they could re-ignite the festival - one suggestion was to revive some of the best revivals from past festivals - that got performed at Wexford and then once again got forgotten. To keep a festival alive they need to look at where they are going to go - this idea is one which I think would work for them and may bring back some festival goers who want to see a particular opera again.

They have to do something if what you say about empty seats is true.

Yes to be honest I think the pricing has got a bit out of hand , I usually keep the used tickets and note the quality of the view,subtitles,sound for future reference.

Last years tickets for Le Roi Malgre Lui- Stalls Centre -perfect view was 90 Euro. This years Massenet- Front Circle- perfect view was Euro 115 ! That is 270 versus 345 over the 3 operas in a recession !

By contrast I am all booked up for Anna Bolena/Maria Stuarda/Roberto Devereux with Welsh National Opera in Birmingham in November at £45 each or Euro 160 for the three operas ! Throw in Aer Arran and all sorted.

westtip

Yes exactly and £45 are the top priced tickets in Birmingham - you could get in the cheap seats for a lot less and yes Roberte Devereux could almost qualify for Wexford treatment it is so rarely performed - actually come to think of it neither are the other two. Looking at those prices for Wexford I just won't go, 115 euro, wow, that's a non starter for something that might be simply hit or miss.

marienbad

Great,great night at the Gaiety tonight -Gerald Barry's The Importance Of Being Earnest - just outstanding. Also on tomorrow (Saturday) if anyone is interested.

Barry himself was there and got a very justified ovation , Tosca etc are simply marvellous as we all know but it so exhilarating to hear something new.

wexoperafan

Any comments regarding Wexford 2014 line-up

Salome by Mariotte
Don Bucefalo by Cagnoni
Silent Night by Kevin Puts

Wex

marienbad

wexoperafan wrote: »

Any comments regarding Wexford 2014 line-up

Salome by Mariotte
Don Bucefalo by Cagnoni
Silent Night by Kevin Puts

Wex

Silent Night is based on the French movie Joyeux Noel of a few years back and the opera can be heard here http://www.npr.org/event/music/151211677/hear-the-opera-that-won-the-Pulitzer

I have listened to it a few times and it is all very emotional in the right places .May it will grow on me as the year passes.

The other two I know nothing about but that will be soon rectified as they are on the way to me from Amazon.

testicle

I'm going to Aida in Cork in March. I'm not going to stand out like a spare prick in black tie am I?

marienbad

testicle wrote: »

I'm going to Aida in Cork in March. I'm not going to stand out like a spare prick in black tie am I?

Yes you are, as far as I am aware there is no dress requirement in Cork

Doshea3

marienbad wrote: »

Great,great night at the Gaiety tonight -Gerald Barry's The Importance Of Being Earnest - just outstanding. Also on tomorrow (Saturday) if anyone is interested.

Barry himself was there and got a very justified ovation , Tosca etc are simply marvellous as we all know but it so exhilarating to hear something new.

I think I was one of the very few audience members that did not like Barry's 'Importance'. The production was impressive, the performance highly polished, the comic timing well-paced--but the opera itself? As a piece of slapstick comedy or a postmodern farce it was fairly entertaining, but as an operaticisation of Wilde's play it left me entirely cold.

marienbad

Doshea3 wrote: »

I think I was one of the very few audience members that did not like Barry's 'Importance'. The production was impressive, the performance highly polished, the comic timing well-paced--but the opera itself? As a piece of slapstick comedy or a postmodern farce it was entertaining, but as an operaticisation of Wilde's play it left me entirely cold.

Might I ask what did you expect ?

Doshea3

marienbad wrote: »

Might I ask what did you expect ?

That's a good question! I suppose I had very high expectations of the piece (so much so that I spent my one night over in Dublin from the UK at it), and I think I thought it would be a much cleverer adaptation of the play, whereas it seemed to me that text and narrative of the play was entirely secondary to the element of postmodern farce that pervaded in the production. I didn't really find it very amusing to be honest, and I think I only laughed once in the whole evening (that may well say more about me than about the opera!). It was difficult not to contrast it with Raymond Deane's 'Alma Fetish', which although a much different story and a very different production was much more engaging as a piece of music and as a piece of theatre.

marienbad

Doshea3 wrote: »

That's a good question! I suppose I had very high expectations of the piece (so much so that I spent my one night over in Dublin from the UK at it), and I think I thought it would be a much cleverer adaptation of the play, whereas it seemed to me that text and narrative of the play was entirely secondary to the element of postmodern farce that pervaded in the production. I didn't really find it very amusing to be honest, and I think I only laughed once in the whole evening (that may well say more about me than about the opera!). It was difficult not to contrast it with Raymond Deane's 'Alma Fetish', which although a much different story and a very different production was much more engaging as a piece of music and as a piece of theatre.

To my regret I was away for the Deane piece so I can't compare- but two very different works I would have thought.

Changes are always made from one medium to another ,it is unavoidable . What were you expecting if I may ask. It was a work in its own right and to me it stood up very well.

shoegirl

Didn't get to earnest but did visit wexford and agree that the prices are completely out of control.

The cheapest seats in roh are £12, the met its $20, most euro houses around €12 and in wexford it's .....€75, for a restricted view ticket.

No wonder so many empty seats. However, productions were good, entertaining and worth the visit. It's just a pity they are prepared to leave 50+ empty seats a night rather than sell off a few discounted tickets.

On the other hand, I don't think the highest priced tickets go above €130. In contrast roh is around £180, and the met....well....easily $440 if it's not a gala, $1500 if it is (in which case you're probably looking at a tier 1 cast). Maybe a reshuffle of seat prices to push down cheaper seats and up the better ones?

The sound is good in the house but getting there is a pain, parking was extremely poor and the lack of ancillary services suited to the occasion make it tricky. A catering option would not hurt, and whatever happened to the "opera train?" It's a nice trip, but could be improved a lot.

It's always been the case in opera here though.... I don't ever remember there being any sort of student or youth discount 20 years ago. The question of audience building has always been quite weak here.

shoegirl

testicle wrote: »

I'm going to Aida in Cork in March. I'm not going to stand out like a spare prick in black tie am I?

Probably, but you'd get away with it!

westtip

testicle wrote: »

I'm going to Aida in Cork in March. I'm not going to stand out like a spare prick in black tie am I?

Someone might stop you and ask you to bring over a Latte, Gin(Cork dry of course) and tonic, sparkling water, glass of SB, and a pint of Heino.....yes indeed you will look like a spare prick at a wedding, my advice don't do it!

Kilgore

Just watched Paris Opera - Aida in Dundrum cinema.
The staging was a incoherent mess that really detracted from the performance.
At half time the Designer was interviewed presumably in response to negative feedback from previous performances....review below mentions a lot of booing.
http://www.bloomberg.com/news/2013-10-15/booed-aida-in-paris-repels-with-klan-gestapo-review.html

Having suffered this I tip my hat to Lyric whose production in the Gaiety last year was much more enjoyable!

Sandwlch

Kilgore wrote: »

Just watched Paris Opera - Aida in Dundrum cinema.
The staging was a incoherent mess that really detracted from the performance.
At half time the Designer was interviewed presumably in response to negative feedback from previous performances....review below mentions a lot of booing.
http://www.bloomberg.com/news/2013-10-15/booed-aida-in-paris-repels-with-klan-gestapo-review.html

Having suffered this I tip my hat to Lyric whose production in the Gaiety last year was much more enjoyable!

I was at that production a few weeks ago - and musically, most enjoyable it was. Yes, the staging was utter rubbish. It would have been a 'fail' even as an exercise from a 1st year undergrad. How someone didnt shout 'stop' in a top opera house when they saw what tosh was being put together I dont know.
There was no booing at all though that night. Most outstanding was the orchestra - absolutely as good as you will hear in any opera house. I even liked the sometimes criticised acoustic there. Voices uniformly good but nothing stellar. Nevertheless, still well superior to the Lyric effort last year for me - though I did enjoy that also.
I would love to know how much the transforming stage centrepiece of the first two acts cost - at a guess, on its own, more than Irish opera in its entirety spends over several years.

A conditional recommendation for L'elisir d'amore from NI Opera in the new year. Emphasis greatly on the giocoso rather than melodramma, but a good evening's entertanment. The caveat though being whether its gets south of the border with the orchestral forces it had in the north. If it does, try it. If cut down to a handful of players like some recent OTC offerings, then best skip it.

marienbad

Just back from Birmingham and the WNO productions of The Tudor Donizetti operas coupled with Tosca- I presume the lesser known works needed the Puccini gravy train to help defray the costs .

And some costs they must have been. The production values were of the highest order and even though we had some outlandish directorial quirks ( as to be expected with David Pountney involved) Elizabeth appearing like a Ripley/Alien/Game Of Thrones get-up , all in all it was an outstanding few days.

Mary Elizabeth Williams was an outstanding Tosca, Claudio Otelli as Scarpia had great stage presence but was lacking in the lower register being my only quibble.

Leonardo Capalbo was just outstanding as Roberto Devereux and I believe will represent Wales in this year's Cardiff Singer of The World . He has a great future

shoegirl

Kilgore wrote: »

Just watched Paris Opera - Aida in Dundrum cinema.
The staging was a incoherent mess that really detracted from the performance.
At half time the Designer was interviewed presumably in response to negative feedback from previous performances....review below mentions a lot of booing.
http://www.bloomberg.com/news/2013-10-15/booed-aida-in-paris-repels-with-klan-gestapo-review.html

Paris audiences include a small grumpy element who boo A LOT. I've seen this myself in TCE even in quite nice productions.

That said, I agree that the staging was horrible, but the singing was pretty good. Aida, like Carmen, is pretty easy to make a mess of if you venture outside of the very powerful cultural tropes endemic to the libretto.

westtip

Just come back from UK. Opera North Grimes. Seen the production twice before. Remains the best production of Grimes I've seen yet (and I have seen a few!). Some slight musical flaws but Grimes remains a masterpiece of the last century, a stunning piece of music-drama, isn't that what opera is? music-drama.

Stunning production from Opera North if you ever get the chance try to see it.

marienbad

westtip wrote: »

Just come back from UK. Opera North Grimes. Seen the production twice before. Remains the best production of Grimes I've seen yet (and I have seen a few!). Some slight musical flaws but Grimes remains a masterpiece of the last century, a stunning piece of music-drama, isn't that what opera is? music-drama.

Stunning production from Opera North if you ever get the chance try to see it.

Westtip ,where do you go to see Opera North ? and what flights/hotels would you advise - if I am not being too curious.

Opera Noth as far as I am aware are not bringing the Britten productions to Belfast this year , which is a huge disappointment.

westtip

http://www.operanorth.co.uk/

various options.

Nottingham is quite good as the theatre is fabulous and easy flights into East Midlands - you can get a bus to the city centre for not much. Nottingham is a lovely city - and quite lively.

Hotels - usual array of suspects, its much easier to have friends in the area though.

Leeds is the home base - the Grand in Leeds is an excellent theatre. Leeds Bradford would be the Airport

I have not been to their other venues = The Lowry in Salford or Theatre Royal in Newcastle on Tyne (tell a lie - I did many years ago to Scottish opera there)

I would recommend their Nottingham tours, mainly because the theatre is so opera friendly, and the city is really a nice place to go to and the convenience of East Midlands Airport which has good public transport links to the city (with a 24 hour bus service to the airport) and plenty of flight choices from Dublin, Knock, Belfast. Also its not an expensive city and has some great pubs selling some wonderful English Ales and Bitters.

Check out East midlands website for bus information - there really is no need to hire a car.
Website has all the details. Great pity they are not coming to Belfast - share your view on that one.

marienbad

Anyone else go to the Met broadcast of Rusalka last Saturday. It was an old staging but great fun nevertheless. I love Fleming in that role.

This cinema broadcast thing is turning out to be a real goldmine - The ENO are getting in on it now , so we have Peter Grimes on Feb 23rd and Berlioz' Benvenuto Cellini on June 17th.

The remaining Met Broadcasts are March 1st - Prince Igor/March 15th-Werther/April 5th-Boheme/April 26th-Cosi/May 10th -La Cenerantola

And the ROH broadcasts of Don Giovanni on Feb12th and Manon Lescaut on June 24th.

What a feast of riches !!!

SamSpade

I was lucky enough to see Peter Grimes at the ENO a couple of weeks ago and can recommend it.

When it comes to Cinema showings, I've seen Anna Bolena from the Met in 2011, the Met's Ring in 2012 and La Donna del Lago from the ROH last year. I especially enjoyed 'La Donna', which I'd seen live a week or two previously. I don't think that the overall experience is any less than a live show, and there are advantages also. It's far cheaper than a trip to London for a start. Cinema also offers comfier seats than the ROH (that's not difficult!) and a proper view.

I must admit, though, that the cinemas were almost empty. That can't bode well for the future.

Has anyone checked out the offerings on Sky Arts? They're showing a good selection of operas from the Met, ROH and other venues. Examples include the Met's Ring Cycle and a superb 'Elektra'.

Sky are also sponsoring Rise and Fall of the City of Mahagonny in Dublin this Summer. Given the bleak funding situation for the Arts this has to be welcomed. Link below:

http://www.irishtimes.com/the-rise-and-rise-of-mahagonny-sky-brings-irish-opera-to-the-box-1.1615777