The Scottish opera

Verdi’s Macbeth is one of those early works where he seems to be trying to grow out of bel canto but not quite making it.  There is some splendidly dramatic music and some that just seems completely incongruous given the subject matter.  The witches’ chorus at the beginning of Act 3 is a case in point.  That said Phyllida Lloyd’s production for the Royal Opera House takes the piece seriously and does a pretty good job of presenting the drama in a straightforward but visually attractive way.

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Secret Senta

Martin Kušej’s production of Der fliegender Holländer for De Nederlandse Opera recorded in 2010 is high concept and it’s worth looking at the interviews with the cast and conductor before watching the main event.  Certainly the essay in the booklet will do little to prepare you.  For Kušej, Daland’s ship is a cruise ship or pleasure yacht full of expensively dressed partygoers.  The Dutchman’s “crew” are refugees or desperate economic migrants.  The Dutchman himself has made his pile in human trafficking.  The framework of the “outsiders” wanting a share of the “insiders'” goodies is the backdrop for the interpersonal drama of Senta, the Dutchman and Erik.

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Claustrophobic and Intense Don Carlo

The first time I tried to watch Willy Decker’s 2004 production of Verdi’s Don Carlo at De Nederlandse Opera I failed to get past Rolando Villazón in doublet and hose. To anyone familiar with British TV comedy of a certain era the resemblance is just too close and I couldn’t get beyond the idea of Stephen Fry as Felipe II and Miranda Richardson as Elisabetta. This time around I watched the highly illuminating video introduction and read Wily Decker’s useful essay on his production concept before tackling the piece proper. I’m glad I did that and I’m glad I came back to this recording because it is very fine and it was very useful to have Decker and Chailly’s perspectives on the dramaturgy and the music.

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