Opera North's "Salome"
There was a little girl,
Who had a little curl,
Right in the middle of her forehead.
When she was good,
She was very good indeed,
But when she was bad she was horrid.
I often feel that the words of Longfellow’s little poem apply to Opera North. I have seen some marvellous things from them: “The Bartered Bride” and their updated “L’Elisir D’Amore” with Dulcamara arriving in a balloon spring to mind. They were the first company, certainly in the UK, to recognize Puccini’s “La Rondine” for the masterpiece that it is.
But when they are bad, they are truly horrid: undercast, badly conducted, and with productions that have made my toes curl with embarrassment at their awfulness. Anyone remember their “Tosca”? Or “Pagliacci”?
I am happy to report then that their current “Salome” (seen at the Sage on Saturday 11 February) is very definitely in the ‘very good’ column.
It is a concert performance, but with appropriate entrances and exits and the squabbling Jews placed in the balcony. I often find concert performances of opera surprisingly effective and so it was with this.
The performance was built round the considerable presence of Susan Bullock as Salome. Not the most beautiful voice, it is nevertheless a solid and expressive instrument and used here with both subtlety and, where needed, enormous power. Matching her for volume at times was Anne-Marie Owens as a wonderfully hatchet-faced Herodias.
Perhaps the most dramatically effective performance came from Peter Hoare as Herod (even though he was using a score). This was excellent singing, diction and presentation in a gift of part for a good character tenor.
Philip Joll (Jokanaan) must be considered something of a veteran (he sang Kurwenal for Goodall in 1981) and the voice does have occasional gruff patches in it now. When it rang freely, particularly at the top, it can still be a thrilling sound.
All the minor parts were very well taken, with particular mention of Leonardo Capalbo’s lovely lyric Narraboth.
Terrific playing from the orchestra under Richard Farnes, never drowning the singers but able to release shattering volume when required. The moment of the arrival of Jokanaan’s had the whole hall shaking.
This was as enjoyable a presentation of Salome as I can remember and when Opera North are on this form they are world class.
Who had a little curl,
Right in the middle of her forehead.
When she was good,
She was very good indeed,
But when she was bad she was horrid.
I often feel that the words of Longfellow’s little poem apply to Opera North. I have seen some marvellous things from them: “The Bartered Bride” and their updated “L’Elisir D’Amore” with Dulcamara arriving in a balloon spring to mind. They were the first company, certainly in the UK, to recognize Puccini’s “La Rondine” for the masterpiece that it is.
But when they are bad, they are truly horrid: undercast, badly conducted, and with productions that have made my toes curl with embarrassment at their awfulness. Anyone remember their “Tosca”? Or “Pagliacci”?
I am happy to report then that their current “Salome” (seen at the Sage on Saturday 11 February) is very definitely in the ‘very good’ column.
It is a concert performance, but with appropriate entrances and exits and the squabbling Jews placed in the balcony. I often find concert performances of opera surprisingly effective and so it was with this.
The performance was built round the considerable presence of Susan Bullock as Salome. Not the most beautiful voice, it is nevertheless a solid and expressive instrument and used here with both subtlety and, where needed, enormous power. Matching her for volume at times was Anne-Marie Owens as a wonderfully hatchet-faced Herodias.
Perhaps the most dramatically effective performance came from Peter Hoare as Herod (even though he was using a score). This was excellent singing, diction and presentation in a gift of part for a good character tenor.
Philip Joll (Jokanaan) must be considered something of a veteran (he sang Kurwenal for Goodall in 1981) and the voice does have occasional gruff patches in it now. When it rang freely, particularly at the top, it can still be a thrilling sound.
All the minor parts were very well taken, with particular mention of Leonardo Capalbo’s lovely lyric Narraboth.
Terrific playing from the orchestra under Richard Farnes, never drowning the singers but able to release shattering volume when required. The moment of the arrival of Jokanaan’s had the whole hall shaking.
This was as enjoyable a presentation of Salome as I can remember and when Opera North are on this form they are world class.
posted by Alnwickian at 11:05 am
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