The recording of Bellini’s Norma made at the Royal Opera House, Covent Garden in 2016 is about as good as video recordings of opera go. It has it all; a well thought through and well executed production concept, very fine musical values, great acting, judicious camera work and top notch sound and picture. It doesn’t get much better.
Berlioz’ Les Troyens is one of those pieces that really deserves the descriptor “sprawling epic” and, if anyone can make an epic sprawl it’s David McVicar. This production, recorded at the Royal Opera House in 2012, is typical of McVicar’s more recent work. It’s visually rather splendid and the action is well orchestrated but it’s short on ideas and long on McVicar visual cliches; acrobats, gore and urchins (but mercifully no animals). I don’t want to be too hard on McVicar. This piece is based on the sort of “Ancient History” one used to learn at prep school (British usage) and McVicar pretty much runs with that making no attempt to find deeper meaning, despite superficially translating at least the first two acts to the time of first performance; the era of European colonialism.
A new recording of Britten’s Gloriana is to be welcomed, even when it’s less than perfect. It’s an unusual work for Britten. It’s very grand. The orchestra is large and the music doesn’t seem to be as transparent and detailed as much of his work. This is especially true in Act 1 where I almost wondered whether Britten was sending up “grand opera”. It’s also a grand opera sort of plot. The libretto is based on Lytton Strachey’s Elizabeth and Essex and deals with the late life romance between the queen and the young Robert Devereux, earl of Essex and deputy in Ireland. It has some fine moments; notably the lute songs in Act 2 and the choral dances in Act 2. Act 3 is also dramatically quite effective; dealing with Essex’ abortive rebellion and execution. Curiously, in the final scene, Britten resorts to a lot of spoken dialogue, as he does briefly with Balstrode’s admonition in Peter Grimes. It’s almost as if he has no musical vocabulary for the highest emotional states; a sort of anti-Puccini.