Dr Jacqueline Jeynes
Author, Reviewer, Speaker
I love Opera!
I know, you either love it or hate it
but I am fascinated by the drama and spectacle.
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An ongoing series of reviews on opera performances and live broadcasts
Royal Opera House "Cinderella"
The introductory interviews for cinema broadcasts give some really good insights into the story and the production. First performed in 1948, it was produced by Frederick Ashton who also performed as one of the sisters at the time! Traditionally referred to as the ‘ugly’ sisters, they are now known as the stepsisters to Cinderella.
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This new production has new sets, presents an outside setting for the Ball, and plants are used extensively to hold the scenes together – cultured flowers for the stepsisters but meadow flowers for Cinderella. While the Director noted dance routines are tough for performers, he quoted a comment from one of them saying the final piece was “a real banger of a tune!” It is a fairy-tale so the aim is for the audience to reconnect with the magic of life.
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Clever lighting from the start, gradually revealing the stage and the clock. Opening with the stepsisters sewing, fighting between themselves, very ungainly and trying to be the one to get their father’s attention. A great exaggerated routine with a scarf and you have to be impressed by the tall inelegant stepsister circling the long string of pearls around (her/his) neck!
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As you would expect, the sets are beautiful aiming to present an image of the room “dissolving into nature” away from the grey daily grind, and becoming a magical starlit arc as the Fairy Godmother enters. This is traditional ballet so costumes are pretty, lots of layers of net or chiffon, the season’s Fairies bringing gifts for Cinderella. And off she goes in her magic coach drawn by four mice.
The images here are from the cinema screen as no photographs aloud.
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Royal Opera House Marriage of Figaro
As always with the live broadcasts, the initial interviews with the Director and Maestro are always enlightening giving their view on how they have worked together to produce this version. As a “single day of madness”, the Marriage of Figaro is about humanity, cruelty, and fidelity based on a play from 1786. There is an element of the female characters aiming to win in the eternal battles of the sexes, all within the comic opera mode.
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The choice of younger singers for the roles of Susannah and Figaro work well as the lovestruck couple just hoping for a happy wedding ceremony. The villain of the piece, Count Almaviva, wants his wicked way with the bride on her wedding night, as in an ancient right he is trying to reinstate. His plans are, of course, thwarted by the bride and groom and the Count’s wife.
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There are some great one-liners, especially when the gardener questions Figaro about why he is taller now than the man he saw running away. “That’s what happens when you jump out of a window” he replied, demonstrating a neat little crouch!
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As with all comic operas, much like a farce with singing, it involves lots of cross dressing and confusion but all ends happily. These broadcast events from the Royal Opera House confirm how creative, polished, and exciting their performances are. It is certainly worth signing up for the ROH streaming service to enjoy performances from previous years.
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