Król Roger

Karel Szymanowski’s 1924 opera Król Roger is surely the only opera in Polish in anything like the standard rep.  Maybe that’s one reason it’s not performed all that often because it’s really rather good and Kasper Holten’s 2015 production at Covent Garden makes a pretty good case for it.  The story is set in 12th century Sicily, though as we shall see , that really doesn’t matter.  The Church is complaining to the king about a heretical prophet, the Shepherd, who is leading people astray with a strange doctrine of Love and Nature.  Roger’s queen is much taken with the Shepherd and helps protect him.  The king, who is clearly battling demons rooted in a bloody past, vacillates.  Eventually he’s persuaded and the opera closes with Roger singing an ecstatic hymn to the rising sun.

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I Capuletti e I Montecchi

The story line for Bellini’s opera I Capuletti e I Montecchi will be familiar enough though it’s very condensed and based on the earlier source by Bandello rather than Shakespeare’s more elaborate reworking.  So, lots of feuding but no back story, no balcony scene, no friar’s cell.  But (spoiler alert) the ending is the same.  Vincent Broussard’s production, originally from Munich but filmed in San Francisco in 2012, sets the work around the time of its composition and seems at times to reference that it was composed for the Venice Carnivale.  It also veers around between being quite literal and trying to make the story something going on in Romeo’s head.  The production is quite influenced visually by the fact that the costumes were designed by Christian Lacroix and it’s unclear whether he’s trying to support the production concept or promote his brand.

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Not especially magical flute

William Kentridge’s La Scala production of Die Zauberflöte is mainly notable for its use of black and white projections.  The intention, apparently, is to tell the story as seen by, or even as seen inside, a Victorian camera.  In places this works rather well but at times it’s quite hard to figure out what is actually going on.  Whether it was that hard to read in the theatre I can’t say.  Video recording projections is really hard and i have a lot of sympathy with Patrizia Carmine who video-directed here.  The film of a play of a film thing is really difficult to capture remotely faithfully.

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