Royal Opera House
Il
trittico
Michele – Lucio Gallo
Giorgetta – Patricia RacetteLuigi – Carl Tanner
Tinca – Carlo Bosi
Talpa – Jeremy White
Frugola – Irina Mishura
Song Seller – David Junghoon Kim
Lovers – Lauren Fagan, Luis Gomes
Suor
Angelica
Suor Angelica – Ermonela Jaho
Suor Dolcina – Elizabeth Key Monitress – Elena Zilio
Suor Genovieffa – Lauren Fagan
Suor Osmina – Eryl Royle
Mistress of the Novices – Elizabeth Zikora
Abbess – Irina Mishura
Princess Zia – Anna Larsson
Novice – Katy Batho
Nursing Sister – Jennifer Davis
Alms Sisters – Emily Edmonds, Renata Skarelyte
Nuns – Tamsin Coombs, Kiera Lyness, Anne Osborne, Amy Catt, Cari Searle
Gianni
Schicchi
Gianni Schicchi – Lucio Gallo
Lauretta – Susanna HurrellZita – Elena Zilio
Rinuccio – Paolo Fanale
Gherardo – Carlo Bosi
Nella – Rebecca Evans
Gherardino – Gabriele Montano
Betto di Signa – Jeremy White
Simone – Gwynne Howell
Marco – David Kempster
La Ciesca – Marie McLaughlin
Maestro Spinelloccio – Matteo Peirone
Ser Amantio di Nicolao – Tziano Bracci
Pinellino – Simon Wilding
Guccio – David Shipley
Buoso Donati – Peter Curtis
Richard Jones (director)
Sarah Fahie (revival director, Il tabarro and Suor Angelica)Benjamin Davis (revival director, Gianni Schicchi)
Ultz (set designs, Il tabarro)
John Macfarlane (set designs, Gianni Schicchi)
Miriam Buether (set designs, Suor Angelica)
Nicky Gillibrand (costumes)
Mimi Jordan Sherin (lighting, revived D.M. Wood)
Sarah Fahie (movement)
Until last summer, when I saw Opera
Holland Park’s excellent production, I had never seen Il trittico as a whole in the theatre, something I had been
intending to remedy for a while. Such was perhaps easier said than done, given
that complete performances, whilst probably less rare than at one time they had
become, are less frequent than one might expect. (Alexandra Wilson’s programme
note was interesting on that subject.) At any rate, I wanted to wait for the
right occasion, and OHP has a very good track record in Puccini. Now I have
seen another, which seemed to me almost, yet perhaps not quite, as successful,
but which should surely disappoint no one. That quite a few friends – I learned
this only afterwards, so it did not colour my expectations – had been
disappointed on the first night, especially in vocal terms, I find surprising;
I have no reason to doubt them or their judgement, but can only say that, going
on the second night, my experience was different; it was, after all, a
different performance, and such is the magic – and indeed the frustration – of
a performing art. Even the weakest of the three operas, considered purely
vocally, was only comparatively so.
I will admit to a little
disappointment that Richard Jones seems to have made little, if any, effort to
unite the three operas. Three is no iron-clad rule which says one must, of
course, but surely it would be interesting at least to make the attempt when
the director is common to all three. It is, after all, perfectly clear how
different they are on the surface; what, however, if one digs a little deeper?
Yes, one can – and should – do one that oneself, but to say there is no need
for a director to do so comes close to saying that there is no need for a
director, at least in the strong sense, at all. Ably revived – with the caveat
that I had only seen the Gianni Schicchi before, when it was paired with L’Heure espagnole – by Sarah Fahie and
Benjamin Davis, there was, however to these stagings no doubt concerning the Personenregie nor the general sense of
theatre. Jones treats Il tabarro as
one would usually expect it to be seen, in naturalistic fashion. If I am
honest, I was relieved to be spared his usual visual trademarks – no flock
wallpaper, thank goodness! – and being set when and where it ‘should’ be makes
a good deal of sense. (Not, I hasten to add that it must be, and if one were
seeing the opera all the time, one might think differently.) It is atmospheric,
though, and the designs – surely that is crucial, if one is going to be
naturalistic – convince in a realistic fashion. There is perhaps more than a
hint of Zola, or at least that this is recognisably of Zola’s world. The barge
convinces as a barge, as do Ultz’s handsome street designs and Nicky
Gillibrand’s costume designs. Paris, the very particular Paris of these workers
by the Seine, emerges as perhaps the central ‘character’, and that is surely a
good thing.
I am less sure about the
children’s hospital ward setting of Suor
Angelica; it feels a little contrived throughout, and especially at the
end. Indeed, substituting for the nun’s vision a child running forward to hug
her comes across, whatever the intention, as kitsch sentimentality, which is
the last thing Puccini needs. Anti-clericalism is one thing, Puccini’s thing,
although ultimately not a very interesting thing; this, for me, is another,
something which seemed unable to take religion seriously at all and which was
therefore to be found lacking. A full-on, atheistic attack – admittedly, of the
post-Voltairean variety, and yes I know Voltaire himself was a deist, rather than the silly contemporary nonsense of Dawkins et al. – might be interesting; this is
not it. Within these confines – and admitting, again, the excellence, on their
own terms of the designs, this time by Miriam Buether – the story is told well
enough, at least until the end.
Gianni
Schicchi is, as one would
hope, full of life, well observed, and certainly seems to respond to the music.
Presumably Sarah Fahie’s movement coordination deserves credit there. It might
not dig so deep as Calixto Bieito’s production for the Komische Oper,Berlin, despite their surface similarity, and of course the latter’s
brilliant pairing with Bluebeard’s Castle
– now there is an example of someone pursuing a compelling line through two
operas – renders the comparison problematical. Having seen Bieito, I found this
a little too obvious in its ‘zaniness’, a little lacking in a sense of what the
work might mean. There is little, nevertheless, that should really trouble
anyone, save for those ultra-reactionaries who object to the business of
updating ‘on principle’. How I wish, though, that the audience could have been
at least a little more quiet! Its incessant laughter was disruptive and
wearying. (Is the opera really so funny
that people cannot control themselves?) Applause following ‘O mio babbino caro’
suggested as strongly as audible sighs when that aria began that the
perpetrators had little sense of irony, nor of the audible and visual (cinematic
still) inverted commas around it. Whatever they were doing, they were certainly
not applauding ironically, with a sense of the metatheatrical.
The real continuity came from
Nicola Luisotti’s excellent conducting of the orchestra. To begin with, I
wondered whether the orchestral sound in Il
tabarro were a little too pastel of shade. However, it increasingly drew me
in rhythmically, and soon I noticed and responded to the close connection with
harmonic rhythm. Colour and its variation, rhythm and its variation, harmony
and its variation: these and their interconnection progressed as if the score
were plotting the course of the River Seine itself. That, arguably, is very
much part of what it is doing. I was able to hear to an unusual degree the
opera as a masterly symphonic poem with voices. That certain rhythmic figures
and their development found their way into Suor
Angelica was even more striking. Musical differences asserted themselves
too, of course, but the sense of unity and
diversity missing from the staging was undeniable in the pit. Gianni Schicchi’s scherzo-like writing
thrilled as it should: with the quickfire alternation and sheer variety of character-voices
above, I felt again that the truest action was in the symphonic poem so
brilliantly played. Luisotti was economical with climaxes; however, my doubts
as to whether he was perhaps being a little too parsimonious were readily
assuaged by his long-term strategy, ably put into practice by the Covent Garden
orchestra, sounding as Puccini players to the manner born.
Vocally, this felt somewhat like
a ‘company’ night. The Royal Opera may not really possess a company in the
old-fashioned sense; more is the pity. Nevertheless, there was considerable
strength in depth and a true sense of cooperation, both between singers and
between them and the production. Il
tabarro, as I said, was somewhat less impressive in straightforward vocal
terms, although Lucio Gallo’s relative dourness was surely part of his
portrayal of Michele. Carl Tanner’s Luigi and Patricia Racette’s Giorgetta had
impressive moments, although they were not so sustained as one might have
wished. Irina Mishura was an arrestingly spirited Frugola. Ermonela Jaho’s Suor Angelica was properly sympathetic, indeed
heart-rending; if her vocal strength is not sustained equally throughout her
range, then that is the case with a good many singers. One employs what one
has, and this she did very well; there was no doubting her honesty of portrayal
and her commitment. Lauren Fagan’s moment as Suor Genovieffa, admitting her
desire once again to hold a lamb, was touching indeed. Anna Larsson gave a
remarkable performance as Princess Zia, her cold dignity scene-stealing; what a
splendid contrast with the Wagner and Mahler in which I have most often heard
her! Elena Zilio shone both as the Monitress and still more as Zita, the focal point –
arguably more so than Gianni Schicchi himself – of activity in the final opera.
Her stage and vocal presence were as one. Gallo’s more energetic – how could
it not be? – performance as Schicchi clearly sprang from the words with, dare I
say it, a native Italian ease. Gwynne Howell showed that he still very much has
‘it’ as Simone. Susanna Hurrell and Paolo Fanale offered youthful, fresh-tone
relief as Lauretta and Rinuccio. As elsewhere, though, everyone contributed to
the evening’s success. This was a properly human comedy.
