Classical and Jazz: Preview - Donizetti’s Lucrezia Borgia at The London Coliseum and Mozart’s Die Zauberflote at the ROH
Published: 3 February, 2011
by SARAH DAWES
THE medieval equivalent of our home movies is portraiture. Although they were intended to show how rich and powerful the subject was, they were also the only visual record available.
Mike Figgis uses film sequences most effectively in this English National Opera production of Donizetti’s Lucrezia Borgia as if they were paintings, with frames round the subjects, and although they are flashbacks, they are far from being casual home movies, rather, a studied, formal record.
His sympathy for Lucrezia (rhymes with “all men detest her”) as a victim of child abuse, incest, sexual exploitation and forcible removable of her child, is explained by the film sequences, showing why this 40-year-old woman behaves cruelly and impetuously, but is still a heartbroken mother searching for her lost son.
Claire Rutter is absolutely splendid in the role, as is Michael Fabiano as Gennaro, her long-lost son.
The trouser role also deserves a mention, beautifully sung by Elizabeth DeShong, and completely believable in these days when, in real life, women take on all manner of roles formerly reserved for men and it is possible for friendship to exist without a sexual element.
The set and costumes reflect the atmosphere of medieval pictures. There are stained-glass windows, and a wonderful golden throne emerging from a triptych-like structure, as well as two proscenium arches, small and large, that emphasise the theatrical nature of the action, and the chorus as onlookers.
Paul Daniel conducts an orchestra and cast with zest and vigour in an amazingly colourful production.
Die Zauberflote is a “fairy tale,” with all the usual elements, the battle between good and evil, a wicked witch and an evil schemer, handsome hero and fearless heroine and comic side-kick.
Of course, love triumphs in the end in Mozart’s opera. Our hero, sung impressively in the revival of David McVicar’s production at the Royal Opera House by Canadian tenor Joseph Kaiser, enters armed only with a bow. Where are his arrows? How can he defend himself against the enormous monstrous serpent, one of the marvellous props that grace this production?
When we first see Papageno, the bird-catcher, (Christopher Maltman) he is teased by a bird puppet, which is also most realistic, if a bit battered. Later on there are several appearances of a flying go-kart that looks as if it were cobbled together by the charming urchins who ride in it, singing divinely.
The evil Queen of the Night, dressed like her ladies in gorgeous sparkling black crinolines, is sung by Jessica Pratt in her Royal Opera debut. Her voice is made for those exciting arpeggios that she accomplishes with ease.
The orchestra, under the baton of Sir Colin Davis, affirms the power of music to act like magic, to excite, delight and calm the soul.
• English National Opera’s production of Donizetti’s Lucrezia Borgia is at the Coliseum, St Martin’s Lane, WC2, on February 5, 12 at 6.30pm; February 9, 15, 18, 23, 25 and March 5 at 7.30pm. Box office: 0871 911 0200, www.eno.org
• Mozart’s Die Zauberflote is at the Royal Opera House, Covent Garden, WC2, on February 9, 11, 16, 19, 22 at 7.30pm and on February 26 at 12.30pm. Box office 020 7304 4000, www.roh.org.uk