One-Act Operas by Tchaikovsky & Donizetti
Clive Timms, Conductor Images: Clive Barda
A contrasted double bill with a rare trifle by the mature Donzetti and the revival in a new production of an important late Tchaikovsky opera, first seen by us at Guildhall School ten years ago, conducted then also by Clive Timms, with "a cast that would do credit to a larger house - - stage movement so true and unselfconscious that the whole was continually absorbing and moving, even without surtitles". Since then Iolanta (which was recorded by Ghent Opera, CPO) has been revived quite often. Royal Academy Opera's 1997 production directed by Orlan Phelan "made the metaphorical tale of probable paternal abuse, with denial characterised as 'blindness', comprehensible in modern terms; Iolanta, with three 'nurses', was 'protected' from the wicked world outside was surrounded by a ring of flowers, and she was eventually 'cured' by psychological intervention...". In 1998 at Holland Park Annilese Miskimmon had it "played completely straight – updated to the 19th century, reflecting recent scandals of bizarre incarceration - how much easier would it have been a hundred years earlier for a monarch to conceal and infantilise a blind daughter and refuse to allow her to grow up or be made aware of her disability?" [Serena Fenwick]. For GSMD's revival the set was somehow too dominant, a disused modern swimming pool accessed by a removable aluminium ladder down in which the father has his daughter trapped with white-uniformed nurses who manipulate the environment to deceive her with recorded music and moveable pots of roses. The Welsh soprano Natalya Romaniw was outstanding as the perplexed and frustrated Iolanta. Her tenor rescuer Paul Curievici - substitute, but in the second cast - was not really up to his part, and the Moorish therapist Ashley Riches must have worried "health and safety" using the dangerous ladder wearing a long cloak. Peter Grahame Woolf Donizetti Rita / Le mari battu Anna Patalong: Rita Clive Timms, Conductor
Rita was contentedly running a '50s café, and terrorising her pliant second husband Beppe, but she got her comeuppance when the supposedly dead first husband came back, seemingly to reclaim her, but reversed the situtation and gave her a hiding. A clever set, Rita's café sharing Iolanta's swimming pool floor (see above). Peter Grahame Woolf See Iolanta at Guildhall School 2001 And see Musical Criticism and Bachtrack on this double bill
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