Hansel Und Gretel at Norwich Theatre Royal

On the evening of Tuesday 5th November 2013 I attended the Glyndebourne production of Hansel Und Gretel at Norwich Theatre Royal. This opera by Engelbert Humperdinck has long cast its musical spell over audiences of all ages. The score vividly evoked the magical world of fairy tale, and Laurent Pelly's deliciously witty production injected a modern twist into this enchanting classic.

Sung in German this fairy tale opera in three acts featured wonderful performances from Victoria Yarovaya as Hansel and Andriana Churchman as Gretel. The Glyndebourne Tour Orchestra were conducted by Ilyich Rivas. Hansel Und Gretel was first performed at the Court Theatre, Weimar in 1893.

Hansel and Gretel are doing chores. Both are bored and hungry, and to cheer themselves up they start to dance. Their games are interrupted by their Mother, who is angry to find them playing instead of working. In her anger she knocks over the milk jug, losing what was to have been supper. She sends them into the forest to gather strawberries instead. Wearied by their precarious existence, she sinks into a chair, only to be woken by the return of her husband. She is irritated to find him tipsy, but calms down when he produces a sack full of food. When he enquires after Hansel and Gretel, he is alarmed to hear they are in the forest: he warns of the Witch who lives there, and both parents set out to look for the children.

Hansel and Gretel happily gather and eat strawberries. When night falls they realise they are lost, and are frightened by the mysterious shapes in the mist. But a Sandman appears and settles them. They say their evening prayers, and go to sleep. The mist around them turns to clouds from which angels appear, who guard the children from harm.

At dawn the Dew Fairy comes to wake Hansel and Gretel. They are excited to see a house not far away, but when they begin to nibble at it, the Witch emerges and captures them, casting a spell. She puts Hansel in a cage, telling Gretel that her brother needs fattening. She releases Gretel with a spell, in order that the girl may help her with the oven. But Gretel uses the spell to free Hansel, and as the Witch demonstrates to Gretel how to check the oven, the children push her into it. As the Witch dies, the fence of people is transformed back into motionless children. Hansel invokes the formula for breaking the spell, and the children jump up and thank Hansel and Gretel for saving them. The Mother and Father appear, and the family is reunited.

This was a fantastic and magical evening at Norwich Theatre Royal with Glyndebourne bringing the story of Hansel Und Gretel by the Brothers Grimm to the stage. I greatly enjoyed this fairy tale opera which brought world class opera performance to Norwich with Glyndebourne making their annual visit to Norwich Theatre Royal.

Tosca at the Royal Opera House

On Saturday 20th July 2013 I attended the matinee performance of Puccini's Tosca at the Royal Opera House. Jonathan Kent’s production of Tosca performed by The Royal Opera is full of drama, passion and fabulous music. There was a great atmosphere at the Royal Opera House on this beautiful Summer's afternoon in London's Covent Garden.

Tosca is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa. It premiered at the Teatro Costanzi in Rome on 14 January 1900. The work, based on Victorien Sardou's 1887 French-language dramatic play, La Tosca, is a melodramatic piece set in Rome in June 1800, with the Kingdom of Naples's control of Rome threatened by Napoleon's invasion of Italy. It contains depictions of torture, murder and suicide, yet also includes some of Puccini's best-known lyrical arias, and has inspired memorable performances from many of opera's leading singers.

Tosca tells the story of the love between the famous opera singer Floria Tosca and the painter and political activist Mario Cavaradossi. Cavaradossi sends the political escapee and former Roman Consul-General, Cesare Angelotti, to hide down the well in his garden. The evil Baron Scarpia is determined to have Tosca for himself, and invites her to supper in order to discover the whereabouts of Angelotti. He orders the torture of Cavaradossi in her earshot. Unable to bear his screams of pain, Tosca willingly gives up the information – but not before she has persuaded Scarpia to allow her and her lover to escape from Rome.

He insists that to satisfy the authorities, Cavaradossi must undergo a mock execution, and arranges this with one of his henchmen, Spoletta. He then provides Tosca with a note of safe-conduct for her and her lover. As Scarpia attempts to ravish Tosca, she stabs him. Before his body is discovered, she rushes to the prison in the Castel Sant'Angelo to tell Cavaradossi that he has to face the firing squad, that the muskets will contain blanks, and he will have to act his death. But Scarpia has tricked Tosca - the bullets are real. As Cavaradossi lies dead and Scarpia's henchmen approach, Tosca is left with no alternative and takes her own life.

There were brilliant performances from Martina Serafin as Floria Tosca, Aleksandrs Antonenko as Mario Cavaradossi and Scott Hendricks as Baron Scarpia as well as amazing music from The Orchestra of The Royal Opera House conducted by Daniel Oren. This was an emotional afternoon at the Royal Opera House which was greatly enjoyed by an enthusiastic audience. Tosca is one of the great Operas and the Royal Opera House is the perfect venue to experience Puccini's masterpiece.

The Perfect American at The London Coliseum

On the evening of Thursday 27th June 2013 I attended the English National Opera's performance of Philip Glass's The Perfect American at the London Coliseum. I enjoy my visits to this amazing venue with it's relaxed atmosphere and the English National Opera's productions always seem unique and interesting.

Based on Peter Stephan Jungk’s novel and written by Philip Glass, one of the world’s most important composers, The Perfect American imagines the final months of Walt Disney’s life, including mythical imaginings of Abraham Lincoln and Andy Warhol. This latest opera from Glass, his 24th, was commissioned by ENO and Teatro Real Madrid to mark his 75th birthday.

The sounds of Minimalism and the world of Walt Disney made for a surreal night at the London Coliseum as we discovered Disney’s delusions of immortality and got a glimpse into his private life. There were fantastic performances from Christopher Purves as Walt Disney and Janis Kelly in the role of Disney’s studio nurse and confidante.

This was a very enjoyable night at the London Coliseum as Philip Glass's The Perfect American made for a fascinating and entertaining Opera which included a brilliant score. The Opera ends with Dantine, an animator who worked on the classic Disney films, meeting the undertaker at the funeral home. He is told that Walt Disney has not been frozen but rather his body has been cremated. In the distance the chorus echoes Disney’s dreams of a magical world of everlasting happiness.

The Pirates of Penzance at The Maddermarket Theatre

It's always wonderful to attend a Gilbert and Sullivan production and even more so at a venue like Norwich's Maddermarket Theatre. This year the East Norfolk Operatic Society performed The Pirates of Penzance which was their ninth show at The Maddermarket and I attended the performance on Wednesday 8th May 2013.

The story begins on a rocky seashore where the pirates are celebrating young Frederic's coming of age. He has completed his apprenticeship and is now about to become a full-fledged member of the crew. Frederic however shocks the pirate King and his men by announcing that he is leaving their band.

We find out that Frederic was mistakenly indentured to become a pirate when he was a child. Although he never approved of the pirates' plundering profession, he stayed with them because he was bound by his sense of duty. This same sense of duty, he tells them, now compels him to forsake them.

Frederic is about to marry his elder nanny Ruth, who has constantly accompanied him since he joined the ship, but he wants her to remain with the pirates. He has not seen another woman since he was eight years old, and he wants to compare Ruth with other women. He comes upon a group of beautiful maidens, all of them daughters of Major-General Stanley, and falls in love with the youngest, Mabel.

The pirates try to abduct the Major-General's daughters and marry them. But the Major-General begs for their release, claiming that he is an orphan, and that he would be all alone without them. The pirates, who are all orphans themselves, are sympathetic to him, and they give up their plans for marriage.

We find out that the Major-General lied to the pirates: He is not an orphan, and he now fears the consequences of his story. Frederic meanwhile has arranged for a Sergeant and his police force to help defeat his former buccaneering comrades.

Ruth and the Pirate King inform Frederic that through an unusual circumstance, he is still bound to remain a pirate. He reluctantly surrenders to his sense of duty and agrees to join them again. Mabel begs him to stay with her, but he sadly tells her that he cannot.

Meanwhile the pirates have planned their revenge on the Major-General and are now coming to rob his estate. The Sergeant and his police force await them. They meet. All is resolved after the ensuing battle.

We were treated to lots of fantastic musical numbers including A rollicking band of pirates we, Climbing over rocky mountains, I am the very model of a modern Major-General and Sighing softly to the river. They were all performed brilliantly with great enthusiasm by the East Norfolk Operatic Society. I greatly enjoyed this fun evening which included fantastic scenery and costumes. Next year they will be performing HMS Pinafore and Trial by Jury at The Maddermarket Theatre.

The Siege of Calais at Norwich Theatre Royal

On Wednesday 27th March 2013 I attended the third of the English Touring Opera's productions at Norwich Theatre Royal. The final performance in this series of operas was Donizetti's The Siege of Calais (L'assedio di Calais) which was sung in Italian. This new production featured designs by Faroese artist Samal Blak, inspired by the siege of Stalingrad.

Due to illness director James Conway mimed the role of Eustachio, leader of the Calais resistance, while Cozmin Sime not only sang the King in the first scene but then the baritone part of Eustachio, the real hero of this story. Toby Girling substituted as Armando, one of the six men who volunteer to die that their city might be saved.  Even with these difficulties the English Touring Opera made this a night to remember at Norwich Theatre Royal with a brilliant performance.

The Siege of Calais is the story of the burghers of Calais (depicted by Rodin in his famous sculpture outside the Houses of Parliament), citizens who offer up their lives to save their city from a besieging army. Their sacrifice is quiet, ordinary, sublime and it culminates in one of the most moving ensembles in all of opera, the momentous O sacra polve, o suol natio (O Sacred Earth). The opera also includes poignant, intimate scenes between the young couple at the heart of the drama and between the leader of the city and his anguished followers. Meanwhile, at the gates, the triumphant Edward III shouts for blood.

This historical and serious opera was a big success for the English Touring Opera on a night when nothing was going to stop them telling this story of what it is to be a citizen and what that citizen owes to their city or country. This was a week with three brilliant operas in three nights from the English Touring Opera at Norwich Theatre Royal.

Simon Boccanegra at Norwich Theatre Royal

I was back at Norwich Theatre Royal on Tuesday 26th March 2013 to attend the English Touring Opera's performance of Verdi's Simon Boccanegra. This new production sung in Italian featured a twenty six piece live orchestra.

This is the English Touring Opera’s first new Verdi production for several years. The story comes from the history of Genoa, for centuries a great maritime republic, and from it Verdi creates an impassioned plea for Italian unity. This production was set in post-war Italy.

The composer’s musical depiction of the shimmering Mediterranean is wonderful; so too are the characters he creates, from the rough-hewn buccaneer-turned-ruler played by Craig Smith to his spiteful adversary and father-in-law Fiesco played by Keel Watson. Other characters include embittered traitor Paolo played by Grant Doyle and the idealistic Adorno played by Charne Rochford.

This was a massive undertaking for English Touring Opera, with an unusually large chorus and orchestra which was a personal ambition of General Director James Conway and Music Director Michael Rosewell, supported with a special grant from the Peter Moores Foundation.

At the end of the opera, Boccanegra is dying thinking of his youth, the freedom of the deep sea, and peace. Amelia and Adorno, newly married, come for his blessing and understand that he has been poisoned. Boccanegra names Adorno his successor. This was definitely my favourite opera of the three the English Touring Opera performed at Norwich Theatre Royal. Simon Boccanegra has a brilliant story combined with wonderful music.

Cosi fan tutte fun at Norwich Theatre Royal

The English Touring Opera arrived in Norwich for three operas in three nights at Norwich Theatre Royal. The first on Monday 25th March 2013 was Mozart's Cosi fan tutte. It was a busy few days for me as I had tickets for all three performances. This comedy about making mistakes in love is one of Mozart's most famous operas.

Così fan tutte is in many ways Mozart’s most perfect opera score, and Da Ponte’s most challenging script. It is a comedy of innocence and experience, funny and unnerving, touching and satirical. The delicate balance between recognising the posturing of the four young lovers and loving them all the same is a challenge to each director and singer.

In one day fiancés are parted, and new fiancés found – or so it seems. Discovering they are not at all the people they thought they were is strange, exciting, and very embarrassing. Paul Higgins' new period production sung in English featured a cast including Laura Mitchell, Paula Sides, Richard Mosley-Evans and Kitty Whately.

A packed Norwich Theatre Royal enjoyed a fun night as the English Touring Opera performed brilliantly and gave us lots of laughs. The combination of the wonderful music and the period setting made this an evening with a great feel good factor. At the end of the opera all four lovers’ certainties have been destroyed. No one quite knows what to feel, except that certainly human nature has been at work.

Medea at the London Coliseum

On the evening of Wednesday 20th February 2013 I attended the English National Opera's performance of Marc-Antoine Charpentier's Medea at the London Coliseum. This continues ENO's pioneering exploration of French baroque operatic masterpieces with this being the first ever UK/London staging of Charpentier's dramatic full scale opera.

The exemplary cast included internationally acclaimed British mezzo-soprano Sarah Connolly in the title role, US tenor Jeffrey Francis making his ENO debut as Jason, internationally acclaimed bass Brindley Sherratt returning to ENO to sing the role of Creon and exceptional baritone Roderick Williams as Orontes. David McVicar directed this reworking of Medea which updates the opera to the close of the Second World War. The Opera is set in a baroque palace which is being used as a war room and meeting place for allied officers.

Banished, betrayed, besieged on all sides, the barbarian sorceress Medea exacts a terrible vengeance upon her faithless lover and all those he holds most dear. David McVicar reworked one of the most disturbing of all the Greek myths, that of a mother who murders her own children. Charpentier’s thrillingly orchestrated score boasts a harmonic daring and psychological complexity unparallelled in its day.

This was an amazing evening to be at the London Coliseum as Sarah Connolly put on a wonderful performance as Medea on a brilliant but scary night on St. Martin's Lane. The musical theatre choreography with prancing sailors and chorus girls made for some light relief and laughter during the Opera. I always enjoy my visits to the London Coliseum as it is very interesting to see how the ENO are going to rework the Opera's they perform. This was a great success for the ENO and made this a night to remember for me at the Opera in London.

Rusulka at Norwich Theatre Royal

On Friday 2nd November 2012 I attended the Glyndebourne performance of Dvorak's Rusalka at Norwich Theatre Royal. This Opera sung in Czech is based on Hans Christian Andersen's The Little Mermaid. This performance was dedicated to Robert Poulton who was tragically killed in a car accident on Tuesday 30th October 2012.

As wood nymphs dance by the lake, the moonlight wakens the water sprite, who tries to lure one of them into the depths. They mock him and run away. His daughter Rusalka, sick at heart, tells him of her yearning to become human. He is shocked to learn that she loves a human being – a prince who comes to bathe in the lake. Her father tells her she must consult the witch, Ježibaba warning her that she will be doomed if claimed by a man.

Rusalka appeals to the moon to tell her lover she is waiting for him. She wakes Ježibaba and asks her to give her a human soul. Ježibaba informs her that the ability to speak to humans will be denied her. If she fails to win love, she will be forever accursed; if he rejects her, her lover, too, will be eternally damned. Confident of her love, Rusalka agrees.

Hunters approach, among them the Prince, seeking Rusalka. He sends the others away, and sees Rusalka standing silently before him. Unable to answer him, she throws herself into his arms. He leads her away as the other water nymphs lament her leaving. At the Prince’s castle, the Gamekeeper and Kitchen Girl discuss events. The Prince has brought a silent female back with him from the woods, and seems likely to marry her; the Gamekeeper hopes that they will be delivered from such sinister magic. Yet there is hope: the Prince is increasingly attracted to the Foreign Princess.

The servants disappear as the Prince enters with Rusalka. Though he is still drawn to her, he complains that she is devoid of passion. Watching them as she enters, the Foreign Princess vows to separate them. She asks why the Prince’s bride-to-be is so silent. As the Prince recalls his duties as a host and leaves with the Princess, he tells Rusalka to dress as befits the wedding ball.

As the ball begins, Rusalka looks on broken-hearted while the Prince dances with the Princess. Her father arrives to warn her that death awaits her back at the lake; she will return eternally damned. As the Prince embraces the Princess, Rusalka acknowledges that he has betrayed her. Rusalka suddenly throws herself into the Prince’s arms, but he rejects her. As Rusalka’s father drags her away, the Prince falls stupefied. The Foreign Princess laughs.

A moonlit night at the lake, where Rusalka sits sadly. Deserted by the Prince and banished by her companions, she longs for death. Ježibaba mocks her, relenting only so far as to tell her that if she kills the Prince herself, she can return to her former state. She gives Rusalka a knife, which the latter throws into the lake. The Gamekeeper and Kitchen Girl arrive at the witch’s cottage, seeking a cure for the Prince’s illness, caused by the sorceress Rusalka. The witch sends them packing and Rusalka’s father angrily chases them away.

The dryads return to dance until Rusalka’s father’s tale of his daughter’s undoing causes them to flee. The Prince enters, once more seeking Rusalka. She appears, warning him that now she can mean only death to him. The Prince asks her to kiss him, to bring him peace. Rusalka finally agrees. He dies. She asks for God’s mercy on his soul and sinks back into the lake.

Glyndebourne took us to the magical world of Rusalka as Dvorak's Opera was performed at Norwich Theatre Royal Conjuring up a world of dark forests and deep lakes. Natasha Jouhl as Rusalka and Peter Berger as the Prince were wonderful which together with the amazing music from The Glyndebourne Tour Orchestra made this an unforgettable night.

The Marriage of Figaro at Norwich Theatre Royal

On Tuesday 30th October 2012 I attended the Glyndebourne performance of Le nozze di Figaro (The Marriage of Figaro) at Norwich Theatre Royal. This was a great opportunity to witness world class Opera in the Fine City.

The entire action of Mozart’s life-enhancing opera takes place within a single day; a day of madness as the subtitle of the original text describes it. Figaro and Susanna’s determination to marry enrages their master, the Count, reducing him to a state of lustful frustration, disregarding his wife, the Countess, who is left to suffer the miseries of unrequited love. In a breathless circle of plots and counter-plots, the Count pursues Susanna, the young and hormonally volcanic Cherubino pursues anything in a skirt and the scheming pair of Bartolo and Marcellina come close to upsetting Figaro’s plans but are caught in a web of their own devising.

Conceived by the brilliantly scurrilous writer Beaumarchais in 1784 as a barbed satire on the aristocracy, the original play was repeatedly banned from performance in the years leading up to the French Revolution. It was considered to be dangerously incendiary and to Mozart and his librettist Da Ponte it proved irresistible, inspiring them to create an opera of unrivalled beauty and acutely perceptive characterisation.

Transferring direct from the 2012 Festival,this was a new production from celebrated director Michael Grandage, returning to Glyndebourne following his critically acclaimed Billy Budd (2010). A packed Norwich Theatre Royal had a splendid entertaining evening as Glyndebourne thrilled us and gave us lots of laughs. This was Mozart set in the Swinging Sixties with Joélle Harvey as Susanna and Guido Loconsolo as Figaro both performing brilliantly along with the fine music from the orchestra conducted by Jonathan Cohen. Glyndebourne took us on an amazing emotional journey.

Porgy and Bess at the London Coliseum

On Thursday 19th July 2012 I attended the matinee performance of The Gershwin's Porgy and Bess from the Cape Town Opera and the Orchestra of the Welsh National Opera. Christine Crouse the Artistic Director of the Cape Town Opera said that transferring the South African township history to Porgy and Bess seemed a perfect fit. All the cultures of township life in Africa rule in Catfish Row.

On Catfish Row in Charleston, South Carolina, Jasbo Brown is playing the blues for a group of dancers. Clara sings a lullaby to her child (“Summertime”). The drug dealer Sporting Life, Clara’s husband Jake, and some of the other men are playing craps. Jake sings his child a lullaby of his own (“A woman is a sometime thing”). The beggar Porgy comes in to join the game; he defends Crown’s woman, Bess, who the others are talking about. When Jake accuses him of being soft on her, Porgy says that he isn’t soft on any woman; God made him a cripple and meant him to be lonely.

Crown enters with Bess. He’s drunk, and when he loses he starts a fight and kills Robbins with a cotton hook. Crown runs to hide, but tells Bess he’ll be back. Sporting Life offers to take her to New York with him, but she refuses. Nobody else will give her shelter when the police arrive except Porgy.

Porgy and Bess are at Robbins’ funeral, where Serena is leading the mourners. The police enter and arrest Peter as a “material witness.” Serena is still mourning (“My man’s gone now”) as she convinces the undertaker to bury Robbins for less than his usual fee, but as the scene ends, Bess leads the mourners in a spiritual. (“Oh, the train is at the station”).

A few weeks later, Jake and the Fishermen are working on their nets when Porgy leans out the window and compares his life to theirs. (“I got plenty o’ nuttin’”). Maria, a shopkeeper, chases Sportin’ Life away from her shop when he tries to sell his ‘happy dust’ near her store (“I hates yo’ struttin’ style”). Lawyer Frazier comes in and sells Bess a divorce for a dollar; when he learns that she and Crown were never married, he raises his fee to a dollar and a half. Mr. Archdale, a well-meaning white man, comes in and offers to pay Peter’s bail. The group is frightened by a low-flying buzzard. Porgy chases it away, saying that trouble is far away from him now (“Boss, dat bird mean trouble”).

All leave except Bess and Sporting Life, who asks her again to come to New York with him and tries to give her more dope, which she refuses. Porgy chases him away and he and Bess sing about their new happiness. (“Bess, you is my woman now”). All except Porgy leave for the church picnic. At the picnic, Sporting Life sings about his own brand of religion (“It ain’t necessarily so”). All are getting ready to leave when Crown, hidden in the bushes, calls out to Bess. She tells him she’s Porgy’s woman now, but he won’t let her go. (“What you want wid Bess?”). He pushes her off into the thicket as the boat leaves without her.

Some time later, the fishermen are getting ready to leave as Bess raves, still delirious after Crown’s attack. Peter wants to send her to the hospital, but Serena would rather pray over her. The street fills with vendors, and eventually Bess emerges, and explains to Porgy that she wants to stay with him but that when Crown comes she’ll have to go with him. Porgy tells her that she doesn’t have to go with him (“I loves you, Porgy”). A hurricane begins to rise, and Clara, frightened for her husband, calls out his name.

Everyone, gathered in Clara’s room, prays for shelter from the storm. There is a knock at the door; Crown enters and tries to take Bess away; he laughs at the frightened townspeople and sings a bawdy song to counteract their prayers (“A red-headed woman”). Clara sees Jake’s boat and runs out to find him. Bess calls for a man to go after her; Crown goes, after taunting Porgy and asking him why he won’t go.

After the storm, the women are crying for their men; Sporting Life teases them and Bess. Crown enters; he and Porgy fight, and Porgy kills him.

The police and the coroner come to Catfish Row the next morning; they want to take Porgy down to identify Crown’s body. Sportin’ Life tells him that when he looks at him Crown’t wound will begin to bleed. Telling Bess that Porgy will be locked up for sure, Sportin’ Life forces some dope on her, and leaves more outside her door as he leaves.

Porgy returns; while he tries to distribute the gifts he bought with the money he made playing craps in jail, he discovers Bess is gone (“Oh, Bess, oh where’s my Bess”). He learns that she has gone off with Sportin’ Life to New York; he gets in his goat-cart and prepares to follow her as the curtain falls.

This was a very moving afternoon at the London Coliseum as the Cape Town Opera brought their own unique style to Porgy and Bess. There were wonderful performances from Xolela Sixaba as Porgy and Tsakane Valentine Maswanganwi as Bess. The music fron the Orchestra of the Welsh National Opera conducted by Albert Horne was outstanding and complemented the great singing on stage. The Cape Town Opera can be proud of their performance as they brought a true sense of the South African people to the heart of London.

Carmen at Norwich Theatre Royal

On the evening of Friday 22nd June 2012 I attended the Impact Opera performance of Georges Bizet's Carmen at Norwich Theatre Royal. The aim of Impact Opera is to give new and instantly appealing takes on classic works of music drama. They perform fully staged productions with an onstage chamber orchestra, making live opera more accessible, appealing and affordable to an ever-widening audience. Amie Clapson starred in the role of Carmen while Don Jose was played by Daniel Hoadley.

In a square outside of a cigarette factory in Seville, Spain, Morales, an officer of the Dragoons, is with his guards on watch. Micaëla, a maiden, arrives looking for her fiancé Don José, but is being bothered by the flirting soldiers, so she flees the square. Don José arrives with his captain, Zuniga to relieve the guard. At noon, the cigarette-girls come out of the factory to the square and Carmen appears. All of the men ask her for her love. She sees José, who at first does not notice her. She throws a flower at the feet of José, choosing him as a lover, and then flees. He is flattered by Carmen’s gesture, but is interrupted from his daydream by Micaëla, who brings a note from his mother reminding him to be faithful. As soon as Micaëla leaves, there is commotion from the factory. Carmen has attacked another woman. Zuniga orders José to arrest her. He goes to arrest her, but she seduces him to let her escape. He does, and is arrested.

A month later, Carmen and her friends are dancing and drinking at an inn that is a local hangout for smugglers. Zuniga and some of his men are there, and Zuniga attempts to woo Carmen. She refuses. She has promised to meet José there. The great bullfighter, Escamillo, enters the bar and falls in-love with Carmen. Two smugglers, Remendado and Dancaïro, enter the bar to tell Carmen and her gypsy friends, Frasquita and Mercedes, that their help is needed for a smuggling operation. Carmen refuses to go, since she is waiting on José. Having been released from jail, José arrives and the bar empties off all but he and Carmen. She entertains him with a private dance, which is interrupted by the call of bugles. José’s troops have been called to retreat. He is about to leave, which angers Carmen. He reveals the flower that she gave him when they met that he has kept with him in jail this entire time. He pledges his love to her. Zuniga bursts back into the inn and orders José to leave at once. José refuses the order and they both draw swords. They are both disarmed and Zuniga is taken away at gunpoint. José is forced to join the smugglers after openly defying a superior officer.

The band of smugglers is on the outskirts of town with Don José. He is disinterested in the smugglers and their intentions. Carmen, has tired of José, and she loves him no more. Carmen, along with Frasquita and Mercedes are reading tarot cards. Though Frasquita and Mercedes’ cards show wealth and happiness, Carmen pulls the death card. The smugglers depart, leaving José to guard over the camp. Micaëla approaches. As she comes near, José, who does not see her, he fires a shot in her direction, which is intended for Escamillo, who he has seen. Escamillo arrives and introduces himself as Carmen’s lover. They duel with knives. Carmen steps in and saves Escamillo’s life. They are to leave together, to spite José. Micaëla has come to find José and tell him to return home to his dying mother. He has to leave to go home, but before leaving, warns Carmen that he will be back.

A parade is entering the bull-fighting arena through a square in Seville. At the tail of the parade is Escamillo who is joined by Carmen. The other smugglers tell her that she needs to go away because Don José has come to kill her. She does not listen. José pleads with her that he is still in love with her. He offers to rejoin the smugglers. She will have nothing of it, laughing at him, and throwing the ring that he gave her at his feet. She tells José that Escamillo is hers, and that she will live with him until death. The crowd roars in the arena for Escamillo. As Carmen goes to join him, the jealous José grabs her from behind and stabs her in the heart. At the moment of Escamillo’s victory inside of the arena, Carmen dies.

This was a wonderful evening as the Impact Opera put on a splendid performance of Georges Bizet's brilliant Opera. A Spanish story of love, treachery, passion and betrayal. This version was sung in English and Spanish as the world's most famous opera was brought to life at Norwich Theatre Royal.

Opera in the forest

I walked down to Norwich Assembly House on the evening of Monday 21st May 2012 for the pre-performance talk with Frederic Wake-Walker the Artistic Director of The Opera Group in conversation with Patrick Dickie. This gave me a great insight to the night's performance of Bow Down at the Norfolk and Norwich Festival which was being performed in association with London Sinfonietta.

The Artistic Director told us of how they came to perform this opera and the history behind how it was written during a six month strike during 1977. Due to a lack of technical and stage staff Tony Harrison and Harrison Birtwistle had to make the piece incredibly simple to stage, using very sparse resources. There was a freedom in the Opera Group's staging of the piece meaning that every performance will vary with actors bringing their own personalities into play as they switch roles.

At 8.30pm I got on the coach outside Theatre Royal for the journey to the secret woodland location with great excitement as I looked forward to the performance. When we arrived at the site there was a short walk through the woods with flames lighting the way. This was an amazing setting for the Opera Group to perform this classic folk tale. Bow Down is the story of two sisters in love with the same man and torn apart by jealousy. The dark sister drowns the fair sister to take her lover. The murdered sister’s body is discovered and her bones and hair are used to build a harp which is played at her sister’s wedding. The harp denounces the murderess, who is put to death.

It was brilliant how the rhythms in the spoken text worked with the rhythms of the percussion instruments. This along with the beautiful sounds of the flute and oboe made for an amazing experience among the trees late at night. This has to be my personal highlight of this year's Norfolk and Norwich Festival. It was an unique occasion as The Opera Group took us into a mythological world. The opera in the forest was a cool and though provoking night. There were two sisters in a bower, their father was a baron of power.

The Flying Dutchman at the London Coliseum

On Saturday 5th May 2012 I was back in London at the London Coliseum to attend the English National Opera's performance of Richard Wagner's The Flying Dutchman. This Opera was performed in english with translation by David Pountney. This production was directed by Jonathan Kent.

Edward Gardner was conductor as the Orchestra put on an outstanding performance which complimented the events on stage with Orla Boylan as Senta, Stuart Skelton as Erik, Clive Bayley as Daland and James Creswell as The Dutchman taking us to the world of Richard Wagner.

The Flying Dutchman provides an early outing for Wagner's idea of redemption through death: so called 'love-deaths' occur in several of his operas, and the Dutchman delivers a particularly vivid one in a legendary story which is salt-washed by dramatic sea-storms and fearful apparitions.

The opera begins with Daland's ship riding out a tempest which suddenly disgorges the ghostly ship of the Dutchman, a sea-captain cursed to roam the seas for ever, but allowed to come ashore every seven years – his sin of blasphemy will be wiped clean if he can find a wife who will be true to him. The stranger offers Daland gold for the hand of his unmarried daughter Senta, sight unseen. Senta knows the legend of the Dutchman and is determined to save him. When she meets the stranger, the connection is made, and she swears eternal fidelity. Daland's crew and the villagers try in vain to tempt the stranger's crew ashore: when these ghostly figures finally appear, everyone flees in fear.

Senta's discarded boyfriend Erik recalls their love and wants to rekindle it. Overhearing this, the stranger concludes that he has been betrayed again and once again is doomed. To general consternation, he reveals his identity as the Flying Dutchman and sets sail. Proclaiming herself faithful unto death, Senta throws herself into the sea – redeemed, they are seen ascending to heaven.

As you would expect from the English National Opera we were treated to a dramatic evening with a brilliant staging of Wagner's opera which is set on the Norwegian coast. With dreams, nightmares and ship in a bottle factories set against the raging sea we were taken on a rollercoaster ride with our emotions as the opera was performed without an interval to give us the full effects of this sometimes dark epic.

Princess Ida at The Maddermarket Theatre

I was really looking forward to attending the East Norfolk Operatic Society's performance of  Princess Ida at the Maddermarket Theatre, Norwich on Wednesday 2nd May 2012. I made my way to the venue and was transported to the magical world of Gilbert and Sullivan.

Prince Hilarion has been waiting for this day for twenty years. He is about to meet Princess Ida to whom he was betrothed as a baby. Unfortunately, Ida has decided that she does not want to honour this commitment and instead has started a women's college. In an attempt to woo her, Hilarion, and his two friends are forced to disguise themselves in order to sneak into the college grounds.

Inevitably they are discovered but manage to maintain their secret. However, Princess Ida learns the truth about the intruders and it looks like violence is sure to erupt but in the end Ida concedes defeat and finally admits her love for Hilarion.

This was definitely a fun night at the Maddermarket Theatre as we were entertained by the East Norfolk Operatic Society with a performance full of enthusiasm and splendid singing. We left the theatre with the sound of With Joy Abiding in our heads and a spring in our steps.

La Fille du regiment at The Royal Opera House

On Saturday 21st April 2012 I caught the early Norwich to London train. After a morning at Trafalgar Square and The National Gallery I made my way to Covent Garden to attend the Royal Opera's performance of La Fille du regiment at The Royal Opera House.

Maria was played by Patrizia Ciofi while Tonio was played by Colin Lee. La Fille du regiment was written by Gaetano Donizetti while the composer was living in Paris and was first performed in 1840. This is an Opera Comique in two acts with a french libretto.

On their way to Austria, the terrified Marquise of Berkenfeld and her butler, Hortensius, have paused in their journey because a skirmish has broken out. When the Marquise hears from the villagers that the French troops have retreated, she comments on the rude manners of the French people. Sulpice, sergeant of the 21st regiment, assures everyone that his men will restore peace and order. He is joined by Marie, the daughter of the regiment, which adopted her as an orphaned child. When Sulpice questions her about a young man she has been seen with, she explains that he is Tonio, a local Tyrolean who once saved her life.

Troops of the 21st arrive with a prisoner: this same Tonio, who says he has been looking for Marie. She steps in to save him, and while he toasts his new friends, Marie sings the regimental song. Tonio is ordered to follow the soldiers, but he escapes and returns to declare his love to Marie. Sulpice surprises them, and Marie must admit to Tonio that she can marry only a soldier of the 21st.

The Marquise asks Sulpice for an escort to her castle. When he hears the name Berkenfeld, Sulpice remembers a letter he found near the young Marie on the battlefield. The Marquise soon admits that she knew the girl's father and says that Marie is the long lost daughter of her sister. The child had been left in the care of the Marquise, but was lost. Shocked by the girl's rough manners, the Marquise is determined to take her niece to her castle and give her a proper education. Tonio has enlisted so that he can marry her. But Marie has to leave both her regiment and the man she loves.

The Marquise has arranged a marriage between Marie and the Duke of Krakenthorp. Sulpice is also at the castle, recovering from an injury, and is supposed to be helping the Marquise with her plans. The Marquise gives Marie a singing lesson, accompanying her at the piano. Encouraged by Sulpice, Marie slips in phrases of the regimental song, and the Marquise loses her temper. Marie thinks about the meaninglessness of money and position when she hears soldiers marching in the distance and is delighted when the whole regiment files into the hall. She leads them in singing a patriotic tribute Salut a la France. Tonio, Marie, and Sulpice are reunited with Tonio asking for Marie's hand. The Marquise is unmoved by the young man's declaration that Marie is his whole life. She declares her niece engaged to another man and dismisses Tonio. Alone with Sulpice, the Marquise confesses the truth, Marie is her own illegitimate daughter.

Hortensius announces the arrival of the wedding party, headed by the groom's mother, the Duchess of Krakenthorp. Marie refuses to leave her room, but when Sulpice tells her that the Marquise is her mother, the surprised girl declares that she cannot go against her mother's wishes and agrees to marry a man that she does not love. As she is about to sign the marriage contract, the soldiers of the 21st, led by Tonio, storm in to rescue their daughter. The guests are horrified to learn that Marie was a canteen girl, but they change their opinion when she tells them that she can never repay the debt she owes the soldiers. The Marquise is so moved by her daughter's goodness of heart that she gives her permission to marry Tonio. Everyone joins in a final Salut a la France.

The Royal Opera House was full of tears and laughter complete with wonderful singing and music as we were treated to a brilliant performance of La Fille du regiment which is always a fun Opera to attend. Bravo to the Royal Opera for such a splendid afternoon at Covent Garden.

The Barber of Seville at Norwich Theatre Royal

On the evening of Tuesday 10th April 2012 I attended the English Touring Opera performance of The Barber of Seville at Norwich Theatre Royal. With music by Giacchino Rossini and libretto by Cesare Sterbini this opera was first performed in 1816 at the Teatro Argentina in Rome. It is based on the comedy Le Barbier de Seville by Piere de Beaumarchais.

With english translation by David Parry this English Touring Opera's new production was first performed at Hackney Empire in March 2012. Each year the company on average gives 110 performances at 55 venues across the country.

Count Almaviva is in love with Rosina, the rich ward of Dr. Bartolo, an old doctor, who plans to marry her himself. The Count serenades Rosina with the help of a group of actors and musicians. He enlists the help of Figaro, a barber, who prides himself on his ability to manage the affairs of the city.

The Count makes himself known to Rosina as a poor student called Lindoro and Figaro suggests that in order to gain admittance to the house he should pretend to be a drunken soldier billeted on Dr. Bartolo. Rosina falls in love with her unknown admirer but Dr. Bartolo has heard rumours about Almaviva's interest in her and decides to marry her immediately.

Rosina is delighted when the Count reveals that he is really her admirer. The Doctor's annoyance at Almaviva's behaviour causes such a row that the militia are called by the neighbours. Later the same day the Count assumes yet another disguise and enters the house as Don Alonso, a music teacher. The Count tells Rosina that he will elope with her at midnight.

Dr. Bartolo confronts Rosina with a letter she addressed to Lindoro and catches her by surprise when he makes out that Lindoro is the agent of Count Almaviva, who only wants to marry her for her money. She agrees to marry Bartolo at once and tells him of the planned elopement.

Rosina repulses Lindoro until she learns that he is himself Count Almaviva and falls into his arms. Basilio arrives with a notary to marry Rosina to her guardian but a bribe easily persuades him to witness the marriage of Rosina to the Count instead. Bartolo and the magistrate appear too late and Bartolo is obliged to acknowledge that he has lost her.

This was a wonderful evening at Norwich Theatre Royal with the English Touring Opera and Orchestra taking us to the world of The Barber of Seville with a brilliant performance full of splendid singing and music.

Madama Butterfly at Norwich Theatre Royal

On Tuesday 7th February 2012 I attended the Ukrainian National Opera of Kharkiv's performance of Madama Butterfly. This is one of the world's most popular operas with music by Giacomo Puccini and was performed by one of the great East European national companies. 

With Elena Dee as Cio-Cio-San (Madama Butterfly) and Andriy Perfilov as Lieutenant F B Pinkerton along with the Orchestra being conducted by Gheorghe Stanciu this was always going to be a special night at Norwich Theatre Royal.

A young Japanese girl, Cio-Cio-San of Nagasaki decides to  marry Lieutenant Pinkerton of the American Navy the man she loves. Pinkerton sees this marriage as a short-lived adventure while Cio-Cio-San's love knows no boundaries.

The marriage broker Goro shows Pinkerton around the home he will share with Butterfly and warns him about the tragic consequences his game could have. Pinkerton ignores the warning and the marriage ceremony begins. The unexpected appearance of her Uncle Bonze unnerves the guests. He utters blasphemies against the girl who has denied the ancient customs. Uncle Bonze leaves taking all the guests with him leaving the two lovers alone at last. They sing of their love binding them together into a serene and endless happiness.

Cio-Cio-San lives with her devoted friend and servant Suzuki. Pinkerton left the country promising to return in one year but three years later he has still not returned. Consul Sharpless brings Cio-Cio-San a letter announcing the expected arrival of an American ship but he does not have the heart to tell her Pinkerton has remarried, especially when she introduces him to her and Pinkerton's son.

A cannon announces the ship's arrival and Cio-Cio-San embellishes her house with flowers. Suzuki and the child sleep and only Cio-Cio-San is awake listening to the Marines' chorus. She retires to her bedroom exhausted. Meanwhile Sharpless and Pinkerton enter the house while Pinkerton's new wife Kate waits in the garden.

Suzuki is asked to explain to Cio-Cio-San that Pinkerton wishes to take her child away with him and his wife. Cio-Cio-San appears filled with happiness at the sight of her husband but seeing Suzuki's solemn face she realises his true intentions are to take away her child. The child is separated from his loving mother, who, distraught, kills herself.

This was a wonderful evening to be at Norwich Theatre Royal as we were brought a splendid performance from the Ukrainian National Opera of Kharkiv of Puccini's masterpiece. This is a heart-breaking story that made an emotional mark on this truly magical night.

La traviata at The Royal Opera House

I was back at The Royal Opera House for La traviata in the evening with The Royal Opera performing Verdi's classic opera. This was another opportunity to experience the magical atmosphere at this historic Covent Garden venue.

La traviata is is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave based on Alexandre Dumas Fils's play La dame aux Camelias. The title means The Fallen Woman and was originally entitled Violetta.

In Act I Violetta Valery greets party guests at her Paris salon which include Flora with her escort the Marquis d'Obigny. Gastone introduces Alfredo Germont to Violetta and tells her that Alfredo called on her anxiously each day during her recent illness. Everyone joins in a song in praise of wine and pleasure called Libiamo ne' lieti calici.

Music is heard from another room and Violetta invites her guests to dance. Suddenly she feels unsteady and tells the others to go on without her. Alfredo stays behind and confesses his love for Violetta who protests that love means nothing to her. While alone Violetta reflects on Alfredo's unexpected declaration of love but recalls that she is destined for a life of pleasure.

Act 2 begins with Alfredo reflecting on three idyllic months he has now spent with Violetta at a country house near Paris. Annina arrives to tell Alfredo that she was sent to Paris by Violetta who has been selling her belongings to pay for their life together. Alfredo's father Germont arrives and accuses Violetta of ruining his son. He is shocked to find out that she is supporting the couple. Germont begs Violetta to leave Alfredo as their liaison is putting his daughter's forthcoming marriage into jeopardy and eventually she agrees.

Violetta scibbles a note and gives it to Annina and begins another to Alfredo but is interrupted by his return. Violetta wants reassurance of Alfredo's love for her before she runs away. Alfredo is comforted by his Father but he is inconsolable and goes to Flora's party and swears to avenge himself. At the party Flora and her new lover discuss the seperation of Alfredo and Violetta while a group of guests dressed as gypsies sing and some real gypsies dance.

Alfredo challenged Baron Douphol to a game of cards which the Baron loses and swears revenge. Violetta begs Alfredo to escape from the Baron's wrath and he agrees if she follows him. She tells Alfredo that she cannot go with him because she now loves the Baron. In anger he flings his winnings at Violetta and tells everyone he has paid back for their time together. The Baron swears to avenge the insult to Violetta.

In Act III Violetta is desperately ill and has only a few hours to live. She reads a letter from Germont explaining that Alfredo who fled the country after wounding the Baron in a duel and is coming to beg her to pardon him. Alfredo arrives and falls into Violetta's arms asking her to forgive him and his father. Violetta rallies briefly and gives Alfredo a locket containing her portrait telling him that if he marries he must give it to his bride she then collapses and dies.

The whole cast gave a splendid performance especially Ailyn Perez who played Violetta Valery. Piotr Beczala was outstanding as Alfredo which gave the magic of Verdi something special to make this an evening to remember. A night of laughter and tears that moved everyone at The Royal Opera House.

La Boheme at Norwich Theatre Royal

On Friday 18th November 2011 I attended the Glyndebourne Opera's performance of Giacomo Puccini's La Boheme at Norwich Theatre Royal. This was a wonderful opportunity for everyone in Norwich to witness world class Opera locally, this being one night of a five night residency which included performances of Don Pasquale and Rinaldo.

The writer Rodolfo and painter Marcello complain about their cold flat and burn Rodolfo's latest script. The philosopher Colline and the musician Schaunard return with supplies and money and after Benoit their landlord comes for his rent but gets plied with drink and is thrown out the friends go out to Cafe Momus leaving Rodolfo to stay and finish an article.

Rodolfo is interrupted by a neighbour, Mimi, whose candle has gone out. Mimi faints and when she revives he relights her candle but she has lost her key and her candle goes out for a second time. Rodolfo puts his candle out and tells Mimi about his life and dreams while Mimi tells of her life of sewing. They declare their love and leave for Cafe Momus. On the way Rodolfo buys Mimi a hat before joining his friends for dinner.

Marcello's ex-lover Musetta and her wealthy benefactor Alcindoro turn up and Marcello is unable to ignore Musetta as she sings about her own beauty and allure. Musetta sends Alcindoro to buy her a new pairs of shoes and Musetta and Marcello are reconciled. The friends join a street parade leaving Alcindoro to pay the bill.

A few months later Mimi searches for Marcello who has moved in with Musetta. Overcome with coughing she arrives to tell Marcello that Rodolfo walked out and is consumed by jealousy. When Rodolfo appears she hides and overhears he wants to leave her because he can't cope with her illness. He thinks her condition is due to his poverty. Rodolfo hears Mimi cry and rushes to her and they agree to part until spring.

The friends making the best of a bad situation make their own entertainment when Musetta bursts in with Mimi who is dying. Mimi has left her rich lover as she wanted to be brought back to die. Musetta, Marcello and Colline go to sell their things to buy medicine while Mimi and Rodolfo reaffirm their love and reminisce. The friends return and Musetta gives Mimi something to keep her warm and prays. Mimi dies peacefully leaving Roldolfo grief-stricken.

Complete with a rotating centre stage the story is now set in modern day Paris. With amazing performances from all the cast and brilliance from the Glyndebourne Orchestra this was a very special night at Norwich Theatre Royal. The sad ending emotionally moved us but throughhout the performance there were many times when the theatre was full of laughter.