Opera Holland Park
4th July
Anyone who wishes to attend an opera, and wishes to be assured before buying their ticket that the performance will be of an exceptionally high standard, would do very well to book to see a production at Opera Holland Park. Advance booking is necessary, as they sell out quicker than the Royal Opera House. The seating is all outside, under a canopy, but this is actually very pleasant, even when it’s raining, although a coat is certainly recommended.
Conductor Jane Glover gave a thrilling reading of the score – after an embarrass of Zauberfloten this season, if not an actual surfeit, I was perhaps not awaiting the production with the eagerness the opera truly deserves, but Miss Glover certainly brought the magic back into the flute, and helped to ensure this was one of this season’s best interpretations. Tom Phillips’ very colourful designs were possibly a little bit of a shock to begin with, as was the rather surprising translation, but the humour was particularly well done, and, under the direction of Simon Callow – whose acting roles include not only Mozart but also Die Zauberflote’s librettist and original Papageno, Emmanuel Schikaneder – this production turned out to be both warm and magical.
In all the many productions of Die Zauberflote we’ve seen this season, none has offered a performer quite as ideal for the role of Tamino as Andrew Staples. The young tenor has sung the role of the First Armed Man for the Royal Opera this season, as well as coming to the aid of Classical Opera Company, for whom he was formerly an Associate Artist, when they lost their scheduled tenor to illness. Here, Mr Staples sang the leading role beautifully. Many excellent singers have trouble with characterising Tamino, but, in Mr Staples’ interpretation, he was very earnest and most endearing.
As Pamina, Fflur Wyn was, perhaps, just a little underpowered, but she too clearly has a talent of great promise. She has a light and attractive voice, and a real feeling for the lyricism in the role, but ideally needs a venue where she is not required to compete with Opera Holland Park’s peacocks. Penelope Randall-Davies also seemed to have some difficulty in her role, the Queen of the Night, as far as the lower part of her voice was concerned, but her top Fs were beautiful. Impressive-sounding top Fs are not unusual – indeed, they are expected – but it is unusual to find a very high note that sounds as lovely as that of Miss Randall-Davies.
However, the soprano honours are shared between Pippa Goss’ charming Papagena and First Lady Natasha Joul. The Three Ladies were among the best-matched trios of singers I have heard in these roles, with mezzo-sopranos Carolyn Dobbin and Alexandra Sherman both well up to Miss Joul’s high standards. The Three Ladies were elegant of dress as well as voice.
Papageno was to have been sung by Roland Wood, English Touring Opera’s Don Giovanni, but was instead taken by the same company’s Leporello, the excellent Jonathan Gunthorpe. Mr Gunthorpe is extremely amusing, and, moreover, without ever taking a joke so far as to distract attention away from the main story. He is always a delightful, energetic and very likeable performer, with whom the audience can easily identify. I wish Mr Wood a speedy recovery, and I’m sure I would have enjoyed his performance very much (Hairy McMungo tells me Mr Wood’s nationality did not prevent him from giving a fine performance in the role for Scottish Opera). However, I am extremely grateful to Opera Holland Park for providing us with such a wonderful understudy, and I’m very glad to have had the opportunity to see Mr Gunthorpe as Papageno.
A role that often – understandably – suffers from a decision to employ a young cast is that of Sarastro, but there seem to be an increasing number of resonant young basses, of which Opera Holland Park’s Tim Mirfin is undeniably one. As the Speaker, Stephen Gadd (Glyndebourne on Tour’s unforgettable Macbeth) displays many of the same qualities. Coversely, Mark Le Brocq’s considerable experience was certainly an advantage in the development of Monostatos’ character – he gives another fine and very amusing performance.
If I might be permitted one small niggle: surely the excellent Michael Bracegirdle should have been given a larger role than that of the First Armed Man (although perhaps his appearances in OHP’s Il trovatore explains this). But just one of Mr Bracegirdle’s virtues is the considerable ingenuity with which he invests every role. Whether he’s Lensky or Steva Jenufa or the First Armed Man, he always offers a high-quality performance. I await his Tamino for ENO – and Opera Holland Park’s future productions – with great anticipation.
Barry Tone
primi-divi at hotmail.co.uk