The Fairy Queen, Glyndebourne, July 2012

A  Midsummer Night’s Dream as Gesamtkunstwerk, with actors, singers, and dancers in Purcell’s remarkable semi-opera, is given here in an eclectic production by Jonathan Kent combining the seventeenth century with modern times — linked of course by the fairies.

Titania, changeling, fairies, all images Richard Hubert Smith

It all starts in a Restoration drawing room with a Restoration version of Shakespeare. His play within a play is extended by musical interludes and four musical masques, the one before the long interval showing the delights of sensual love. This involves giant bunnies having it off every which way, including reversing roles in a pantomime that would confuse the children. But there is a pantomime spirit about the whole thing, including the way Finbar Lynch plays Oberon, and when conductor Laurence Cummings appeared for curtain calls at the end his bunny tail and huge white feet reflected the great enthusiasm and energy he had already shown in the orchestra pit, producing a lively performance from the Orchestra of the Age of Enlightenment.

The lovers united by fairy magic

Anyone who has been to the Globe Theatre will be used to hearing bits of music and dance with the plays, but here it entirely takes over from time to time, and Kim Brandstrup’s imaginative choreography was a joy to watch. That is the one thing I would happily have seen more of, but on the other hand anything more in this production would surely tip it over the top. As it is, Paul Brown’s designs gave me more than I bargained for, and when the seasons came on towards the end, Autumn looked like a Mayan god. It was almost too much. That was followed by the best vocal performance of the evening by bass David Soar as Winter — he was super.

Puck and fairies

Other fine performances were given by actors Jotham Annan as Puck and Penny Downie as Titania. Annan’s lithe body made it look as if he could transport himself anywhere in the forest, and Penny Downie gave a rendering of Titania that reminded me of the quality Judi Dench brought to the role in a recent production. The Rude Mechanicals are cleaners whose abrupt appearance in the seventeenth century drawing room was something of a coup de theâtre, but this production was not short of such sudden theatrical changes in costume.

The double wedding

So many changes, so little time, but this is not a short work, so be prepared for laughter and confusion.

There will be a cinema screening on Sunday, July 22, and performances continue until August 26 — for details click here.

Le Nozze di Figaro, Glyndebourne, June 2012

If you demand this opera in eighteenth century costume — and I overheard some in the audience who did — then forget it. But if you are happy to see a more up to date interpretation, then this is a winner.

All images Glyndebourne Opera/ Alastair Muir

It’s the 1960s and Almaviva is one of the nouveau riche, possibly a pop star, who occupies a magnificent house with servants. He arrives home with his wife in a two-tone sports car, dressed in a loud jacket of Carnaby Street style, while Basilio wears check trousers and jacket. He lights a fag from a silver case, and offers one to Almaviva, who later in the opera smokes a joint and shares it with Susanna.

Susanna and Almaviva

Don’t be put off — Almaviva’s a prat, we all know that — and he gets his come-uppance. It all works perfectly. Sally Matthews as the countess in long flowing dresses was elegance itself, and her soliloquy Dove sono i bei momenti in Act III was a lovely moment that captured the heart of the audience.

The countess

This Michael Grandage production gave us a wonderful stage play, complete with music and singing, capturing the natural interactions between its characters during this ‘crazy day’, taken from Beaumarchais by Mozart and Da Ponte. Vito Priante as Figaro showed quick-witted intelligence as well as becoming admirably disconcerted, and Lydia Teuscher as Susanna switched effortlessly from melodious phrases to annoyance and determination. Her interplay in Act I with Ann Murray’s well-nuanced portrayal of Marcellina was great fun. Andrew Shore as Bartolo delivered a superb La vendetta in Act I, and when he and Marcellina finally realise that Figaro is their son, he showed palpable astonishment and delight as he calls out Rafaelo! … gently pummelling his long lost boy. This is acting of very high quality, preceded of course by Almaviva’s short-lived delight at hearing Don Curzio’s legal opinion of Figaro’s contract with Marcellina, robustly delivered by Colin Judson.

Susanna, Figaro, Marcellina, Bartolo

Isabel Leonard as Cherubino showed characterisations ranging from an attractively sympathetic young man in Act I to infuriatingly testosterone-fuelled impertinence in Act IV, and her Voi che sapete in Act II was a knockout. Sarah Shafer as Barbarina was delightful in her mini skirt, and the dancing at the end of Act III amplified the location of this production to the 1960s when ballroom was strictly passé. Alan Oke’s Don Basilio fitted perfectly with this new hedonism, as did Audun Iversen’s Almaviva as a youngish success story in the world of fashion or entertainment with an elegant wife who no longer fuels his fancy.

Almaviva, with his wife in disguise

Sets by Christopher Oram filled the Glyndebourne stage with the feel of a vintage country house, a rotation converting Act I to II, and a second rotation after the interval converting Act III to IV. Stage positioning and movement of the performers was beautifully judged, and lighting by Paule Constable was superb. From the orchestra pit, Robin Ticciati commanded the Orchestra of the Age of Enlightenment with fine forward drive and sensitivity to the singers. A hugely entertaining co-production with Houston Grand Opera and the Metropolitan Opera, but see it at Glyndebourne first! Performances continue until August 22 — for details click here.