Monday, 9 April 2018

La Traviata

by Giuseppe Verdi, libretto by Piave after Dumas fils

seen at the Coliseum on 5 April 2018

Daniel Kramer's new production for ENO (his first as their new artistic director, though not his first for the company), is conducted byLeo McFall and features Claudia Boyle as Violetta, Lukhanyo Moyake as Alfredo Germont and Alan Opie as Alfredo's father Giorgio Germont, with sets designed by Lizzie Clachan.

The opera is redolent of a society and a view of relationships which are increasingly out of step with modern sensibilities (at least as they are fashionably proclaimed). Violetta is a courtesan supported by a rich nobleman. The idealistic Alfredo declares his love for her, and she agrees to set up house with him, though she has some reservations about her worthiness. But the opportunity to exchange mere hedonism for something more stable is extremely tempting, especially as she is unwell.

Sunday, 8 April 2018

Macbeth

by Giuseppe Verdi, libretto by Piave after Shakespeare

seen by live streaming from Covent Garden on 4 April 2018

Phyllida Lloyd's original production is revived this year by Daniel Dooner, featuring Željko Lučić as Macbeth and Anna Netrebko as Lady Macbeth, with Antonio Pappano conducting.

In contrast to so many operas, there are virtually no narrative complications, and precious little human warmth. The principal focus is on the two main characters, and the corruption of their humanity by their driving ambition. Duncan and Banquo are virtuous victims, but in this version Duncan is a minor character, completely silent. Macduff (Yusif Eyvazov) effectively leads the final opposition, but the murder of his family is not presented on stage; this renders Malcolm, the son of Duncan and the rightful king, an even more shadowy presence, in the interests of dramatic and operatic economy.

Musically and visually, then, all depends on Macbeth and Lady Macbeth, while the sense of society in turmoil is explored by the chorus who act as courtiers, soldiers, and, in a notable divergence from the play, as witches. Instead of three witches, there are dozens.