Der Rosenkavalier : English National Opera

In an effort to try and cast aside my dislike of hearing a classic opera sung in English I had booked a ticket to see Richard Strauss's Der Rosenkavalier at English National Opera at The Coliseum, London. This intense dislike has thus far prevented me from booking a ticket for any of their productions even though many are ones I have never seen/or never seen live at least even though I have been absolutely aching to do so!

Sarah Connolly (Octavian)

So why this one? Sarah Connolly (mezzo) is why, I was just dying to see her Octavian and dithered about for weeks trying to decide to go or not to go, so Ms Connolly was all on you that I pinned my hopes on loving your Octavian so much that the language "thing" I have would be overcome. Sir John Tomlinson as Baron Ochs also helped to tempt me further, a chance to see the great man in action as I never have before.

Sophie Bevan (Sophie)

Sir John Tomlinson (Baron Ochs)

Amanda Roocroft (The Marschallin)

In the run-up I started to hear things about Sophie Bevan (soprano) playing Sophie, of course! My expectations were therefore running so very high by the time I found my seat, hmn, they have such a nice place here too (see my pics at foot of page) it's like a very elaborately decorated wedding cake, or perhaps not looking at the massive statuary jumping out of the walls, and up in the balcony-top deck I felt closer to the stage than I do in the amphitheatre at ROH.

Curtain rises and we find the Marschallin (Amanda Roocroft) and Octavian romping about in bed together, and they are great, their singing absolutely fabulous and lovely interaction between them. What a gorgeous Octavian Sarah is though, my word, I just can't imagine a better Octavian I really can't! We move on a bit until they are joined by the odious Baron Ochs (JT), he's really great but perhaps too nice to be a seriously odious Ochs, but very nicely done. As we move yet further into Act I the Marschallin's followers/hangers-on, dependents appear, amongst them a Tenor singer, instructed to sing for her, who goes on pretty much ignored by the others in the room, but here we have a lovely treat with the great singing voice of Gwyn Hughes Jones. Act I ends with a lovely but sad scene as the Marschallin laments her youth and the fact that Octavian has gone from her without a kiss, some beautiful singing and a lovely protrayal from Amanda Roocroft.

Into Act II and the bit I have been gasping to see as we have The Presentation of The Rose by the dashing, yes this very dashing Rosenkavalier, I'm expecting fireworks here between Sophie Bevan and Sarah Connolly and yes, oh yes, yes, yes, the singing is magical between the two, I am in opera heaven, truly transported, the pair produce singing to die for! Is the best of the show over I ask myself, thoroughly buoyed up and in tears from from the sheer beauty of what I have just witnessed and thinking it can't possibly get any better than this. WRONG!!!!

How could I have possibly expected to be transported to even more dizzying heights but as the opera unfolded and is almost complete here comes the trio between Octavian, Sophie and the Marschallin in Act III and oh my goodness how these three voices combine together to produce something so beautiful I can scarce breathe lest I miss a note, ye gods please let this go on forever, I am enthralled and transported to even greater heights than I could ever imagine! WOW! Thank you ladies, the three of you made my night! Pure bliss! So glad I didn't miss this.

Back down to earth, well almost, not sure I will be beating a regular path to ENO - parts sung in English still grated here and there, with the omission of those three ladies whose singing was so exceptional it didn't seem to matter quite what they were singing or what language they were singing in but just imagining if this were sung as it should be in German what a difference it would have made to the production as a whole ...... I am hoping that one day I may see these three ladies in a production of Der Rosenkavalier at The Royal Opera House singing this in German ....... their voices are certainly worthy of this stage and in these roles, in my own very humble opinion.

Just had to add this for anyone wanting a more detailed appraisal from someone obviously more qualified in technical observations than I shall ever be
http://www.opera-britannia.com/index.php?option=com_content&view=article&id=637:der-rosenkavalier-english-national-opera-28th-january-2012&catid=8:opera-reviews&Itemid=16

Love what he says about Sophie Bevan
"I have never heard such a full-bodied, utterly secure soprano in the role as Sophie Bevan in my life, and I heard Lucia Popp. In fact, I’ve left her until last amongst the principals because she was, most assuredly, the best of them. The voice is quite lovely, and far more warmly rounded and powerful than the usual starting-out soubrette you get to hear as Sophie: yet she floated the B-flats and Bs of the presentation of the rose sequence in Act II with complete assurance technically, allied to an almost sensual beauty of timbre. Himmlische, indeed: and in fairly short order, what a Marschallin she’ll make. Allied to a winningly feisty manner – no shrinking violet this silver rose – and a natural, sympathetic stage persona, Bevan will surely become one of the leading singers on the front-ranking international circuit within the next five years if it all holds up."

 

 

 

 

 

Footnote 21.11.12:  I feel I must hereby retract a statement I made saying I did not imagine I would be a regular at ENO, having now visited on four occasions can confirm I am now officially hooked on their productions, whilst I still prefer opera sung in original language for the classics I have loved  all that I have seen/heard - Der Rosenkavalier, Dr Dee, Julietta and now a stunning Pilgrims Progress - lots more to come, and hopefully will find time to write about those I have not had time to thus far.