Royal Opera
7th February 2008
This was the B cast, so, perhaps, shimmering greatness, could not be expected, yet, it was exhibited, in sundry moments. In other instances, tragically, achievements, were limited. Roland Boer, has not the very soul, for Mozart, much of it, being, almost robotic, in stature, some of the sublimest, of passages, were too slow, or too fast, at least to my, exquisite, tastes.
Pavol Breslik, opened the opera, dynamically, and the actors, controlling the serpent, are, from the Amphitheatre, gratifyingly invisible. It was the deepest shame, that his vocalisations, grew ever more strained, as the opera continued, but he was, it is not to be denied, a figure of nobility.
Christopher Maltman, reduced. His wondrous, heroism, for the comic creation, of Papageno, and was, disarmingly, splendid. He has not, perhaps, the great sensuality, of Simon Keenlyside, or, his ingenious, comedities, but he posseses, a humanitarian charm. Kishani Jayasinghe, as Papagena, was far from being, the answer, to his romantic desires, but the blame, for this, lies either, with director David McVicar, or his costume designer, or both. Papagena, in this production, has no morals, no notion of common decency, in her indecorous, behaviour, but Kishani’s, unbridled, commitment, to such atrocities, is only, to be admired.
Adrian Thompson, did his utmost, with the, inexplicable, phantasmic, Monostatos, the references, to his formerly dark skin, clumsily, and, unesecarily, redrafted. Robert Lloyd, has not it in him, to be boring, even, in that direst of roles, the Speaker. Hans-Peter Konig, was overwhelmingly, sonourous, as Sarastro, a gentleman, of strength, and sensibility.
Kate Royal, sang Pamina, and she is, as delicately displayed in the first, act, a dancer of the profoundest talent, and her white dress, although sadly, plain, became her surprisingly, but, as a singer, she has not the depth, for the Royal Opera stage. Her very heart, knows Mozart, of this, I have no doubt, but, often, she seemed to struggle, not with the style, but with the pace, every note, and word, was placed with perfection, but Pamina’s emotions, never, quite, asended to the surface, with the result, of some vapidity.
The Three Ladies, Anita Watson, Monika-Evelin Liiv, and Elizabeth Sikora, had, individually, a great warmth of vocal beauty, and, wore the costumes, with understated, sexuality. But, Anita, a lyric soprano of promise, is, perhaps, not, true perfection, in this more dramatic role. Monika-Evelin, a low mezzo, if not, contralto, capable of wondrous passion, and Elizabeth, an older mezzo, who begins, just now, to lessen in power, on the lower notes, should, truthfully, have changed roles. Anna-Kristina Kaapola, their Queen of the Night, was the greatest of disappointments, her coloratura, is of, astounding, accuracy, but, any notes, of length, betray her weakness, of tuning. The top F, it seems, is the pinnacle, of requirements, when casting, this role.
Violetta
primi-divi at hotmail.co.uk