Caroline Taylor Archives - thespyinthestalls.com

★★★

“a treat to see emerging young opera stars tackle less well known works”

L’Egisto, billed as a showcase for advancing young singers by the Hampstead Garden Opera, does just that in this new version of the 1643 opera at the Cockpit Theatre. Francesco Cavalli, the composer of L’Egisto (with libretto by Giovanni Faustini), was a pupil of Monteverdi, and enjoyed great success in his own time. Despite languishing forgotten until his rediscovery in the 1970s, Cavalli is now gaining popularity once again. It’s easy to see why. The opera provides lots of opportunities for the stars to show their singing abilities, and there’s even enough drama to keep the characters interesting. Some of the tropes may seem outlandish to modern eyes (Egisto’s mad scene for example) and it’s difficult to sympathize with the gods’ petty meddling in the lives of the unfortunate lovers. But there is a freshness and charm to the unfolding of events, plus some wonderful comic roles for minor characters. This opera is a perfect choice of vehicle for young singers in that regard.

The Hampstead Garden Opera’s production of L’Egisto is easy on the ears, with a talented orchestra and some outstanding voices, but fails, however, to impress the eyes to the same degree. Some choices were forced upon the company, since we are still emerging from the pandemic. Nevertheless, staging L’Egisto with an audience carefully socially distanced on three sides shouldn’t have had problematic sight lines that could have easily been eliminated if the stage had been less cluttered. With performing space at a premium in the Cockpit, it was difficult to see how the addition of shiny disks and gauzy drapes could add much, other than to distract the audience from the performers, and the performers from focusing on each other. The production itself was long; the pace appropriately measured. This production of L’Egisto would have benefitted from more economy of staging, and perhaps more attention to the performers’ costumes which seemed at variance with the opera’s setting and themes.

Setting aside, this is an ambitious production that has two casts alternating with each other for each performance. This is a great idea given the length of each performance and the fact that the company is performing twice daily. In the matinee I attended, I saw Kieran White (tenor) take on the role of Egisto with believable passion and musical dexterity, and he was well matched with his Clori (Shafali Jalota, soprano). The baroque orchestra, under the direction of Marcio da Silva, was a pleasure to listen to. They were also well placed at the back of the performing space, so that the audience could see as well as hear them.

If you are curious about baroque opera, and have yet to make Cavalli’s acquaintance, I encourage you to see this production. It’s also a treat to see emerging young opera stars tackle less well known works like L’Egisto.

Reviewed by Dominica Plummer

Photography by Laurent Compagnon

The Elixir of Love

King’s Head Theatre

Reviewed – 30th September 2019

★★★★★

“Most impressive, perhaps, is that we can understand exactly what everyone is singing – something I’ve found to be an unfortunate rarity in traditional opera”

When presented with a modern undertaking of an opera, we’re so often only given a crumb of a crumb of modernity – contemporary costumes or a change of scenery perhaps. But lo and behold, when the curtains rise, it’s just the same old script, poorly disguised in trainers and a t-shirt.

Opera D’draig and the King’s Head Theatre’s shiny new take on The Elixir Of Love, directed by Hannah Noone, is not such a production. Wrenched from its original setting of 1830’s Spain, we find ourselves instead in 1980’s Barry, Wales – much better. But that’s just the start: Writers Chris Harris and David Eaton have near on chucked away Donizetti’s much lauded L’Elisir D’Amore, retaining only the key plot points and looking to their contemporary audience for inspiration rather than a bunch of tired old tropes and traditions. And what a success it is! There really is something gloriously satisfying about hearing a beautiful, soaring soprano singing ‘f*ck’.

The story itself would require a lot more meat as a straight play, but perhaps it’s the contrast of the usually conservative opera format and the unbridled irreverence of this production that makes it so compelling: We open with Adina’s caf, complete with wipe-down tables and menus, lots of big hair, shoulder pads and classic ‘80s knitwear (Amanda Mascarenhas).

Nicky (David Powton) is a wet blanket who spends all day gazing lovingly at café owner Adina (Alys Roberts) from afar. When Adina’s lover (Themba Mvula) returns from the army, Nicky becomes worried that he’ll lose his chance if he doesn’t act fast. In walks Dulcamara (Matthew Kellett), an oil slick in a suit selling various tonics to any sucker who’ll buy them. Spotting an ideal customer in Nicky he quickly persuades him to part with all his cash in exchange for an ‘elixir of love’, guaranteed to solve all his problems… And so on and so forth, with all the usual twists and misunderstandings of a comic opera.

Though this production would certainly appeal to a much wider audience who have perhaps felt alienated by opera in the past, it equally fulfils all the quality criteria of a seasoned opera-goer, with a cast of beautiful voices, Alys Roberts in particular deftly combining little flecks of Welsh dialect with rich, velvety top notes. Most impressive, perhaps, is that we can understand exactly what everyone is singing – something I’ve found to be an unfortunate rarity in traditional opera.

This is not opera as we know it. No more archaic, stodgy language and plotlines based around extinct social practices. The Elixir Of Love is gorgeously witty, furiously fast-paced and thoroughly contemporary.

Cockpit Theatre

Reviewed – 5th June 2021

★★★

“a treat to see emerging young opera stars tackle less well known works”

If you are curious about baroque opera, and have yet to make Cavalli’s acquaintance, I encourage you to see this production. It’s also a treat to see emerging young opera stars tackle less well known works like L’Egisto.

Reviewed by Dominica Plummer

Photography by Laurent Compagnon

L’Egisto

Cockpit Theatre until 13th June

Shows reviewed by Dominica this year:

King’s Head Theatre

Reviewed – 30th September 2019

★★★★★

“Most impressive, perhaps, is that we can understand exactly what everyone is singing – something I’ve found to be an unfortunate rarity in traditional opera”

When presented with a modern undertaking of an opera, we’re so often only given a crumb of a crumb of modernity – contemporary costumes or a change of scenery perhaps. But lo and behold, when the curtains rise, it’s just the same old script, poorly disguised in trainers and a t-shirt.

This is not opera as we know it. No more archaic, stodgy language and plotlines based around extinct social practices. The Elixir Of Love is gorgeously witty, furiously fast-paced and thoroughly contemporary.

Reviewed by Miriam Sallon

Photography by Bill Knight

The Elixir of Love

King’s Head Theatre until 26th October

Last ten shows reviewed at this venue: