Opera in musica

 "Pretentiousness is the mask of worthlessness and weakness." - Rafael Sabitini

It occurs to me that the thing you will all have missed most due to my my erratic posting schedule is my self-appointed role as the leading opera reviewer among wargaming bloggers. I've seen nine so far in 2024, six of them new to me, and so I'm afraid I can't be terribly comprehensive in my catch-up. Instead I'll briefly cover a couple of highlights.

The best of those I've been to, I would say, was the Hallé's concert performance of the original 1857 version of Simon Boccanegra at the Bridgewater Hall in Manchester, which was sensational and got both a standing ovation and rave reviews. I can't tell you how it compares to the revised 1881 version because I've never seen that, although Opera North are doing it in April 2025 and so readers can confidently expect me to post about that this time next year (*). I shall be particularly interested to know if the plot is any more understandable because this one was impenetrable. The most confusing moment came at the end of the first half when, the lady known as Amelia Grimaldi - who, spoiler alert, turns out to be someone else completely - comes on and tells us that she has, offstage of course, been kidnapped and then managed to get away. At this all the other characters, including those whom we know perfectly well both planned and carried out the deed, start singing "Death to Lorenzo". So far so operatic, except that to that point there had been no mention at all of any Lorenzo; nor, yet another spoiler alert, did he turn up in the second half. As opera critic Robert Thicknesse observed, it is "one of those libretti that heroically rises above explaining anything at all".

It was also at the end of the first half that the most memorable thing in Stravinsky's Rake's Progress occurred. It wasn't that I didn't enjoy the music, singing and acting or, to a lesser extent, the direction and design. It was just that the sight of the bearded lady sitting on a large horse with a cardboard box on her head - you can perhaps see why I had my reservations about what was going on in front of me - wondering why there was neither applause nor someone coming to help her down, was very funny. The reason was that the curtain had malfunctioned, the audience therefore had no clue that the act had finished (**) and it took some minutes before those behind the scenes came up with a plan to put us all out of our collective difficulty.

Other highlights included the first performance I had ever heard sung in Russian: Rachmaninov's Aleko set in a hippy commune and also featuring surprise appearances from some characters who had earlier that evening appeared in Mascagni's cavalleria rusticana, only visible to some on stage. Think Banquo's ghost. It was odd, but it worked. Also worth mentioning was Rossini's scala di seta where the silken ladder was represented by a more solid ladder let down into the pit. It was no shock to see the tenor climbing up it, more so to see the conductor do the same when joining the principals to take his bow.

* If the Lord spares me, and if I can be arsed.

** Beyond the fact that the orchestra had stopped playing; it's a good job they weren't on the Titanic.

Repent, Harlequin

And so to the opera. I have been to see the traditional verismo pairing of Pagliacci and Cavallieri Rusticana; a double dose of beautifully sung adultery and murder. It is encouraging to know that should I ever meet a sticky end at the hands of an outraged husband that it will all be accompanied by some top tunes. Musically, Cav is surely the stronger, but for sheer non-stop in-your-face passion and drama I think one has to go with Pag. The Commedia dell'Arte of the original here became the rehearsal of an Opera North production, in a very meta self-referential interpretation that worked very well apart from not making any sense at all. Still, the audience were carried along by the central thrusts of the plot, and there was indeed much thrusting, not to mention writhing. The attractive and voluptuous faithless wife and her, it must be said, rather handsome and dashing lover, were perhaps not as discreet as they thought they were being, are dobbed in to the husband by a jealous male rival and pay the inevitable consequence. Cav on the other hand is completely different. Transposed from post Risorgimento Sicily to Communist Poland, the cheating wife and her lover aren't very discreet, are dobbed in to the husband by a jealous female rival and pay the consequence. Contrast and compare.

It's worth noting that the male rival, Tonio, is a nasty piece of work, whereas the female, Santuzza, is both wronged and, frankly, completely bonkers. I wouldn't like to get too close to either of them, nor indeed to either of the husbands. The lover's mother in Cav was basically Dot Cotton with a somewhat more melodious voice and the evening was a bit like a scrambled Christmas Day afternoon in front of the TV where the picture was back to back Eastenders specials and the soundtrack was the carol service from Kings College. Verismo indeed.

One last point. I am not sure - and can't be arsed to find out - if I have ever made clear this blog's position vis a vis clowns, but for the avoidance of doubt: they are not funny.