Così fan Tutte - Opera Holland Park

Così fan Tutte is one of three operas written by composer Wolfgang Amadeus Mozart and librettist Lorenzo Da Ponte. Written in Italian, it translates as “Thus do all women” or “All women are like that”.  It tells the story of two sisters; Dorabella and Fiordiligi, their lovers Ferrando & Guglielmo and their friend, the old philosopher Don Alfonso.  Following a proclamation made by the young men that the affections of their sweethearts are unwavering, Don Alfonso places a bet with the young men. Given one day and providing the young men do everything he says, he will prove that their sweethearts are fickle (as all women are).

Opera Holland Park’s production of this well- known opera is given a traditional 18th century setting in terms of costumes but with a modern twist in terms of staging. Don Alfonso is the first character we the audience are introduced to and together with the chorus singers (seated on the stage like an audience) are let in on the experiment he is about to conduct. The staging thereafter is reminiscent of a cross between the Truman Show and Big Brother as we watch the main protagonists and the supporting cast caught up in Don Alfonso’s experiment.

I have been to several of Opera Holland Park’s productions and have never been disappointed. The outdoor setting provides a welcome change to a theatre or opera house and has a more intimate feel to it. The cast and chorus are always very strong vocally especially when you consider that like most operas the singers don’t wear microphones and given the outdoor setting have to project their voices in a different way. In this setting you can also see the orchestra which again makes a change from them being in a pit or hidden off stage – you really get to see a full performance in every sense.

Whilst Cosi fan Tutte is not one of my favourite operas (I find the storyline somewhat melodramatic) I was nevertheless eager to see this production by Opera Holland Park. The fact that they always put on operas to such a high standard – and given the fact that my good friend Nick Garrett was performing the role of Don Alfonso added to its appeal. I had read several reviews of the performance before attending and so was anticipating a great performance – I was not disappointed.

The singers all performed to an extremely high standard and were amusing, eloquent and emotional.  Each of the singers performed their solo parts so well that it would be hard to pick out any one as a highlight of the opera .Whilst I could not remember many of the songs from the opera , I did enjoy Soave sia il Vento performed by Don Alfonso, Dorabella and Fiordiligi. There were also several comedy moments – usually involving Don Alfonso and Despina which I thoroughly enjoyed.At times it seemed they were delivering the lyrics with such speed that it became a tongue twister of words which added to the comedic value of the piece

Although the opera did seem quite long at times, I enjoyed the innovative staging and thought that setting it in such a way as to reproduce a big brother sort of feel, gave it a very modern and contemporary twist. I would gladly have seen this production again had it not been for the travel distance from my home and the fact that like Opera Holland Park’s many other productions, it was sold out!

Conductor Thomas Kemp
Director Harry Fehr
Designer Alex Eales
Lighting Designer Colin Grenfell
Fiordiligi Elizabeth Llewellyn
Dorabella Julia Riley
Ferrando Andrew Staples
Guglielmo Dawid Kimberg
Despina Joana Seara
Alfonso Nicholas Garrett
With the City of London Sinfonia and the Opera Holland Park Chorus


For further information on Opera Holland Park and their forthcoming productions see www.operahollandpark.com.

Opera Review - Ruddigore

Following on from my behind the scenes look at Opera North’s production of Ruddigore, I attended the opening night of the show to see for myself how well all their hard work had paid off – I was not disappointed! Ruddigore was brilliantly funny from start to finish and several times I found myself laughing out loud along with most of the audience.

Ruddigore, or The Witch’s Curse tells the story of Baron Murgatroyd whose family having been cursed by a witch must perform one evil deed per day or suffer a most terrible and painful death. Sir Despard Murgatroyd who has been living with this awful curse for ten years is therefore delighted to discover that his elder brother Ruthven, long believed dead is actually alive and therefore the rightful inheritor to the curse. However, this discovery is not well received by Ruthven who has for the past ten years been living under the assumed identity of Robin Oakapple and who is in love with the very lovely but very prim Miss Rose Maybud. Ruthven’s (Robin) troubles worsen when his ancestors come back from the dead to warn him that he will suffer a most painful death if he does not carry out the terms of the curse.

Photo by Robert Workman for Opera North

Whilst this is one of Gilbert and Sullivan’s lesser known operas, it is none the less equally as brilliant as The Mikado, Pirates of Penzance or HMS Pinafore. It is full of the quick and witty lyrics, the paradoxes, melodrama and humour that you would expect from their work and will have you laughing throughout the entire evening. Anyone who has never seen an opera before should start by seeing something like this as it is light and easy to follow, sung in English and invariably ends on a happy note. This particular production by Opera North not only ticks all the boxes mentioned above but goes beyond that with its clever staging.

As the curtain goes up, the audience watches the story unfold in the style of a silent movie; black and white photographs and captions are accompanied by the orchestra and set the scene for the show. This in turn then reveals the opening scenes and a stage decorated in brown and beige colours very reminiscent of a sepia photograph. This theme continues throughout the entire show and is contrasted only by the bridesmaids’ white dresses and sailors’ uniforms (all styled circa 1920s) which really highlighted the sepia effect and added to the overall visual enjoyment.

Photo by Robert Workman for Opera North

Another stunning visual effect is in the second act when the ghosts of the Murgatroyd family come to life through their portraits. I believe an illusionist was responsible for this particular special effect and it was certainly very cleverly done.

Photo by Robert Workman for Opera North

As previously mentioned, the music and lyrics were sharp and quick witted, full of humour and at one point even re-arranged to make more topical for today’s time – something which wasn’t missed by the audience and they showed their appreciation and amusement with huge applause and laughter. At times the lines were sung so fast that it was a veritable tongue twister of words and yet the performers managed not only to sing the lines of the songs but also add the humour through their expressions. I think it was perhaps the mannerisms and expressions of the performers that really brought the piece to life. Whilst the entire cast were already familiar with the opera, having performed in the same exact same roles last year, it seemed as though they were going all out to emphasise the melodrama and humour of the piece and sometimes just a look or an action would be enough to dissolve the audience into fits of laughter. The energy they put into their performance only added to the overall enjoyment of the piece and it was clear to see that the performers were enjoying themselves as much as the audience.


Having had a behind the scenes look at the show and having enjoyed the performance so much, I would not hesitate to recommend this to anyone. It is everything you would want a show to be, light, witty, full of great songs and music with some stunning visual effects and fantastic performances from all involved. There really didn’t seem to be one weak cast member amongst them and the fact that they had all worked together before really showed in their performance. It was a delight from start to finish and left you smiling as you went home.

Opera North will be performing Ruddigore in Leeds on selected dates until 27th Oct before taking the show on tour to Nottingham, Newcastle & Salford Quays and ending with a run at The Barbican in London. For more information on the show and to book tickets (priced £8 - £75) see http://www.operanorth.co.uk/events/ruddigore/

To read my post as guest blogger for The Culture Vulture – Behind the Scenes with Opera North http://theculturevulture.co.uk/blog/behindscenes/behind-the-scenes-with-opera-north/

Behind The Scenes with Opera North

This week I was delighted to be asked to be a guest blogger for The Culture Vulture, a Leeds based site run by Emma Bearman which highlights many events in and around Leeds and Yorkshire.


My assignment was to attend a working rehearsal for Opera North’s forthcoming production of the Gilbert and Sullivan comic opera Ruddigore and get a behind the scenes look at what goes into putting on a production.

With the help of Opera North’s PR Assistant, Julia Lumley and Company Manager, Jane Bonner, I not only got to see some of the rehearsal but also quiz them about the work they do and the process of getting a show from the planning stages through to the curtain call.

It was a fascinating evening and one which not only taught me a lot but also gave me a deeper appreciation for the work that goes on behind the scenes into getting a production onto the stage.

To read more about my evening with Opera North, please go to http://theculturevulture.co.uk/blog/behindscenes/behind-the-scenes-with-opera-north/

Please feel free to leave a comment afterwards and check out the Culture Vulture website whilst there.

My review of Ruddigore will follow shortly.

Opera Review - Fidelio

It took Beethoven ten years to write his one and only opera and it has been 20 years since it was last performed in Leeds. As a lover of Beethoven’s music, the opportunity to see it performed by the brilliant Opera North in Leeds, was a chance not to be passed up.

The opera tells the story of Leonore, the wife of Florestan who has disguised herself as a prison guard named Fidelio in order to find out and free her husband from jail. The themes central to the plot are that of love, liberty and justice and also a firm belief that the human spirit can triumph over adversity.

I had wondered if the opera would meet up to my expectations and just before the lights dimmed, I felt a sense of anxiety that my anticipation of seeing this particular opera had built up my expectations too much. I shouldn’t have worried, for the moment the lights went out and the overture started I was entranced by the music. The entire overture was played to a dark auditorium and with nothing to focus our sights on, the other senses took over and you got to appreciate the true and pure beauty of the music. I don’t mind admitting that parts of the overture moved me to tears, it was so beautiful.

The staging was very well planned and focussed, with only small sections of the stage being used until the chorus numbers in the second half. The framing of each scene with the black borders of the curtain highlighted the performers and the scene setting with great effect.

I had read the synopsis of the opera beforehand and as it was sung in German there were the English subtitles on hand to explain what was being sung. However, I found that most of the time I didn’t need them as the opera was very easy to follow and was performed so well by the cast and chorus that the emotions came through the music.

There were some outstanding performances from Emma Bell as Leonore and Stephen Harrison as Florestan and I particularly enjoyed the quartet in Act One of Leonore, Rocco, Marzelline and Jaquino as they sung “ Mir ist so wunderbar”,( How wondrous the emotion). The blend of voices together with the orchestra created an incredible sound as each voice joined in with their respective parts.

Another part I found equally enthralling was the Chorus of the Prisoners. I watched totally engrossed as the chorus seemed to crawl out from underneath parts of the stage to stand in the open air.This had such an ethereal quality to it and the male voices combined with the orchestra produced a sound both compelling and highly emotive, it was truly incredible.

The ending was also a triumph as Leonore releases the chains on her husband and the chorus sing "Wer ein solches Weib errungen" (He, whom such a wife has cherished).Through this piece you can sense the feeling of victory over adversity and the hope that this brings to others. Earlier in Act Two Leonore had sung how “You may test us, but do not forsake us” and in this finale you experienced the joy of overcoming such a trial – something I think many of us can relate to in our own lives at times.

The whole opera was enthralling from start to finish and held my attention so closely that the time seemed to pass by too quickly and I was genuinely disappointed when it had ended. I have seen quite a few operas now -many of which have been performed by Opera North but I think this is one of the most engrossing and enchanting productions I have seen. You share the emotions of the main characters and can therefore enjoy their triumph over adversity at the end – true love conquers all!


For details of tour dates and ticket prices see http://www.operanorth.co.uk/events/fidelio/

Opera Review - The Mikado

Opera Review – The Mikado (English National Opera)

Set in the town of Titipu in Japan where flirting is punishable by death, Nanki-poo son of The Mikado of Japan, has fled from court to escape his betrothal of marriage to an elderly rich lady by the name of Katisha. Disguising himself as a travelling musician, he meets and falls in love with Yum-Yum who is already betrothed to her ward Ko-ko, a former tailor of the town, now Lord High Executioner. They seem destined to spend their lives apart but a series of twists and changes in circumstances bring the couple together and not without some highly comical moments.

This latest production of Gilbert and Sullivan’s comic opera by English National Opera sets the scene not in the traditional Japan but in the 1930’s in what could be considered the English Riviera. This staging does not detract from the comedy of the original piece though and in many ways enhances it with some Chaplinesque qualities in the characters’ performances. The stage itself was stunning being decorated totally in whites and creams and in a style reminiscent of the art deco period. It made a stunning contrast to the performers’ black and white costumes and along with the occasional red accessory gave it an oriental feel.

The music was light, the lyrics were touching, comical and clever and featured such well-known favourites as Three Little Maids, Tit Willow and They’d none of ‘em be missed! The chorus worthy of a mention, were both energetic and enthusiastic in their song and dance performances and look incredible against the stage backdrop.

There were several notable performances from amongst this exceptional cast, particularly Richard Suart’s Ko-ko who provided many of the laughs of the evening with his witty lines and slapstick performance. I especially enjoyed his updated rendition of “They’d none of ‘em be missed” which was very in keeping with current affairs and full of satire and humour....it really was a song not to be missed and judging from the audience reaction, it was a huge success. Richard recently released a book celebrating his twenty years connection with The Mikado which explores the history of the Mikado but also looks at the many changes to the song to keep up with the times.

The star of the show however was Alfie Boe as Nanki-Poo. I have mentioned Alfie in previous blog entries as a wonderful performer and brilliant opera singer but this opera also allowed him to show other talents. Not only is the man a great comic actor but he can dance too! He hammed up his character superbly without going over the top and his performance was full of energy and enthusiasm which was quite contagious at times. It was wonderful to sit in a packed opera house and listen not just to extraordinary performances and cleverly written score but also to be part of audience and feel the buzz that ran through them like an electric current.

There are only a few performances remaining in this run, but if you are able to go and see it, I would highly recommend it. It is impossible to watch and leave in a bad mood. This comic opera really lifts the spirits and despite its sometimes serious subject will leave you feeling elated.

For more information on English National Opera, see their website www.eno.org

For more information on Richard Suart’s book “They’d none of ‘em be missed” see http://www.amazon.co.uk/

For more information on Alfie Boe, his recordings and future engagements visit www.alfieboe-uk.com or follow him on twitter www.twitter.com/alfieboe

Opera Review - Carmen

I am not new to Opera, having seen The Magic Flute when I was 14yrs old. However, it’s only been in more recent years, since meeting my friend Nick Garrett, who is an opera singer, that I have become more interested in them. Like many people I had always thought that Opera was aimed at the more privileged in society and certainly the ticket prices at some venues would seem to exclude those on lower incomes. However, more and more theatres and opera houses have introduced lower priced tickets in an effort to make Opera more accessible.

There’s also the pre-conception that with an opera being sung in a different language, you won’t appreciate the plot or storyline. Again, many companies, if not singing in English will display surtitles for you to read as the singers perform and the programmes usually contain a synopsis of the opera which is laid out in Acts making it easier for you to follow.

Nick once told me that in order to fully enjoy an opera you need to do your homework first; read up about the storyline, listen to songs from it in advance and do any other background research that you can. It sounded all a bit too much trouble to me, but he was right! By doing your homework, you are better prepared for what you see and hear and can appreciate the music, the lyrics and the story even more.

This week I had the opportunity to attend a very special night at the Opera. Leeds’ resident Opera Company, Opera North played host to a group of bloggers and social media enthusiasts for their production of Bizet’s Carmen. As well as having the chance to network with other bloggers, we also had the opportunity to meet members of the company, both those who worked behind the scenes and two of the opera singers, Keel Watson and Claire Wild.

The tour of the stage and talk from the Technical Director was fascinating and I was secretly thrilled at being able to stand on the stage and see the many different aspects from it. The stage pitch was something new to me and it felt rather strange at first as you were aware of the slope (this particular one being 1:25) but then seeing it from an audience perspective later on, you were able to appreciate it.

It was also exciting and insightful talking to the performers. I had seen both of them in Operas before; Claire in Don Giovanni with Opera Holland Park and Keel in Carmen with English Touring Opera, where they both performed alongside my friend Nick! It was interesting to hear about rehearsal schedules and how the Opera gets put together and left me with a great respect for all the hard work that gets put in to each production, both from those performing and those preparing the staging and scenes. If that wasn’t demanding enough, fresh challenges arise when, like Opera North, they take their production on tour – no easy task I’m sure.

As for the show itself, there were many aspects that I enjoyed, some that I didn’t understand and some that I felt could have been left out. One thing it did do though was provide a lot of things to talk about and contemplate further and this in my opinion is never a bad thing as it shows that the opera did more than just entertain – it was thought provoking too.

I have seen Carmen before in a more traditionally staged version although with a smaller cast and I had done” my homework” and easily recognised the Overture, Habanera and The Toreador Song as familiar tunes. Having a larger ensemble cast and full orchestra certainly enhanced the performance of these songs and emphasized the richness and beauty of the music. The main performers were also brilliant, singing with such clarity and depth, it made all those hours of rehearsals worthwhile. Special mention should also go to Peter Auty who played Don Jose as he sang in spite of a chest infection and yet showed no sign of this in his performance.

I also particularly liked the stage setting for Act Three which opened with a forest scene and gentle snow fall. The contrast of the white snow falling against the dark trees and forest setting was simply beautiful and so distinctive, especially when compared to the other acts which were full of colour and vibrancy.

This particular version of Carmen had a more contemporary setting and Escamillo the bull fighter, became a knife fighting gangster with a pit bull dog whilst Don Jose the young corporal who falls in love with Carmen looked more like a scout leader than an army soldier. The opening scene with what I assumed was the village square with the cigarette factory behind it, was also slightly confusing as it seemed to be interspersed with sunbathers in swimming costumes. Similarly the scene of the town dance party at Lillas Pastia's looked more like a setting in a trailer park.

Opera North is renowned for its artistic risk taking and for pushing the boundaries of opera, to make it more accessible to a wider audience and to portray the emotions and conflicts of the traditional opera but in a more contemporary way. Whilst the cuts to the score meant that some of these emotions were lost, I do think that overall they achieved their aim. I personally, did not feel the need for the scene where Carmen appears semi-naked trying to seduce Don Jose but I can appreciate that it fitted with this particular production. I did enjoy the focus on Carmen’s character, how she was viewed as an object of desire and how she played on this but also became  victim to this as the men driven by their obsession with her, try to own her.

Overall I enjoyed the whole experience and I hope that Opera North and other companies will have more of these evenings as I think they provide an invaluable insight into the Opera World, make it more accessible to others and give them a chance to explore together the many sides to Opera. I would like to offer a huge thanks to Opera North and Emma Bearman (Culture Vultures) for organising the event. It was lovely to meet so many new people and also gain a greater insight into Opera.

For anyone that hasn’t seen an Opera before, I would echo the advice of my friend, do your homework in advance and you will definitely enjoy it more.

For more information on Opera North, its current productions and tour schedule see http://www.operanorth.co.uk/