Reviewed by Anthony Evans on Mar 24 2017
Star rating:
The singers' enthusiasm was infectious in a disappointing staging
Yesterday evening (Friday 24 March 2017) a near sell out crowd braved the discomforts of pew induced paraesthesia for a performance of the perennial favourite Die Fledermaus at St. John’s Notting Hill. This production from Opera Integra was directed by Fiona Williams and conducted by Sonia Ben-Santamaria. Opera Integra is a self funding group that encourages amateur and aspiring professional singers. Bringing talent together to celebrate opera is a laudable aim.
Die Fledermaus’ lampoon of marital fidelity can be an aggressive, satirical parody. Fiona Williams decided that froth would suffice and to be fair the singers’ enthusiasm was infectious. Working in an unusual space like a church can present it’s own problems and requires a bit of thought. Mime to compensate for the lack of a physical set can be tricky and in this case was wholly unnecessary.
Musically the show got off to a fizzing start though I was left bemused by a series of incomprehensible scenes during the overture. Sonia Ben-Santamaria encouraged a great sound from the ten piece orchestra. Despite a few musical stumbles in the transitions the show stayed on the road and Strauss’ intoxicating music sparkled.
There was some fine singing too. Michelle Smith as Adele made light work of the coloratura and was immensely popular with the audience. Pascal Kennedy’s Dr. Falke was a charming card with a beaming smile - a little under-powered but a lovely natural voice. Relishing the role of Rosalinda, Katie Hinchliffe navigated the Csardas with aplomb but might benefit from listening to her colleagues. Last night’s performance was all about the craic and you can’t knock that.
Elsewhere on this blog:
- We're crowdfunding for Quickening, a disc of new settings of Rowan Williams, AE Housman, Ivor Gurney, Christina Rossetti by Robert Hugill coming out on the Navona Records label, please visit http://www.crowdfunder.co.uk/quickening
- An exploration of 18th century music & dance: London Handel Players, Academy Baroque Ensemble, Mary Collins, Steven Player, Rachel Brown, Adrian Butterfield, Laurence Cummings - concert review
- Purcell from New York: John Scott and the St Thomas Choir of Men and Boys - CD review
- Music in our time: Nine contemporary composers including Adam Gorb and Paul Patterson - Concert review
- Rediscovering Mendelssohn: Liza Ferschtman on her renewed relationship with the violin concerto - Interview
- Rare & Revelatory: RVW music for one and two pianos - CD review
- Stylish & intense: Anne Sophie Duprels in La voix humaine - Opera review
- Phantom pregnancy: Queen Mary's big belly from Gallicantus - CD review
- New operas, new collaborations: Garsington Opera expands - my interview
- Thrilling moments from youthful cast: Saint-Saens Samson et Dalila from Chelsea Opera Group - Opera review
- Surrender to the Madness: Patricia Petibon and Susan Manoff at Wigmore Hall - concert review
- Home
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