Sauve et protege cast pro#
Sauve et protege cast free#

For instance, the brass spluttering as Alberich floundered in the Rhine, for instance, looked forward suggestively to Strauss’s critics in Ein Heldenleben. Detail was present and vivid to what sometimes seemed a well-nigh incredible decree. The LPO strings could hardly have proved more protean, the variegation of their tone a challenge to many an opera orchestra, that variegation surely born in part of Jurowski’s strenuous demands. Moreover, for the London Philharmonic Orchestra to give such an outstanding orchestral performance, in what must be the first time many of its players will have performed the score, is again cause for thanks and rejoicing. Robert Hayward as Alberich with Lucie Špičková, Rowan Hellier and Sofia Fomina They are a communal undertaking, explicitly intended and functioning as heirs, political, social, religious, and dramatic – the distinctions make no sense – to the Attic tragedy of Aeschylus and Sophocles. But however great the demand, they will not ‘pay for themselves’. It is not that there is any lack of ‘demand’ look how performances, especially in Wagner-starved Britain, will often sell out within a few minutes. (Actually, as Alberich will show us, it does, but perhaps not in the best direction.) In a closer-to-ideal world, admitted Vladimir Jurowski in the programme, there would have been a theatrical production, but the Ring ‘would be the end of Glyndebourne as a venue – it would simply fall apart if we tried to squeeze the orchestra into the pit!’ Why an achievement to perform it, though? Because Wagner’s dramas offer a standing rebuke to neoliberalism. One can envy the practice of many German orchestras, which play for both opera house and symphony hall, but envy does not necessarily take us very far. The real deal and produced an evening of great entertainment.

Shines out both dramatically and vocally.Ĭlever old Brent Opera booking Williams and Christie – they’re

Sofia Celenza’s Anna (only one line sadly)

These portrayals workĪcross the cast and chorus and make it believable in a way you didn’t Tossing her father in prison and torturing Jews. Priest decently sung by Steven East clad in an almost winged cloth top is Jesus – good, kind, generous, while Abigaille sungīravely by Elisabeth Poirel is the root of all evil, bagging the crown, Pledging to convert at the end of the opera, were all the more poignant.Ĭhristie systematically characterizes his characters. Nutcase using his cruel daughter Abigaille as a side-kick vindictivelyĪbusing the Jews, the revelation of his prayers to the God of Israel Message that good will conquer evil, and this point was clearly deliveredīy director Ptolemy Christie. A romantic and political plot are played out with the strong When they were being exiled from their homeland by the Babylonian King It’s a psychological drama with a cast of 8, about the Jews ' / 'Fly, thought, on golden wings', it was an authentically moving momentĪnd with the odd good voice in the mix, the sound was pretty impressiveįears aligned Nabucco doesn’t have to be staged in Verona or EarlsĬourt. To 2 children (and a fake babe in arms) – when they sang the famous

Sauve et protege cast pro#

Proved to be another pro for the chorus which cleverly ranged in age down The regulars in the company are of a certain age and this

Sauve et protege cast free#

Nigel Lewis to depict city walls, a cell door etc worked well.īrent Opera has been going for nearly 100 years (2021) and is a free forĪll to audition.

Leah Sams seemingly had an easy time although her arch, cleverly lit by Without resources for a set, a further pro was the lovely setting of StĪndrew’s Church and bearing in mind the libretto is based on theīiblical books of Jeremiah and Daniel this seemed fitting. That he was only in charge of an upright piano rather than a blazing The singers along with him – and it was in everyone’s interest James Williams who deftly but sympathetically kept going almost carrying This problem was skilfully tackled by the Musical Director Verdi is finding a Verdi baritone, in this case 2 and even though Verdiīills one of them as a bass, he slips in the high odd note which is just The air before the first down beat, but this production proved that NabuccoĬan work with a chorus of 19 and a piano. Company does what we deem to be a big piece, normally endowed with aĥ0-strong chorus, 70 orchestra and camels in abundance, disbelief hangs in