I HAVE lost count of the number of concerts, plays, shows and festivals that I’ve attended over the years, but in all that time, I had yet to experience a live Opera in its entirety.
The Welsh National Opera’s production of Benjamin Britten’s Death In Venice was about to be my inaugural operatic experience.
Having seen small parts of the classic operas in the past, and having heard many of the well-loved opera arias that we have all grown up with, I was interested to see how the entire experience would feel.
READ MORE: Review: Snakes and Ladders at The Chesil Theatre - 'It was a joy'
My first revelation was that the full orchestra was positioned for all to marvel at in the huge pit in front of the stage. The huge array of instruments on display and the sound of the musicians tuning up was an experience in itself. The seemingly random sounds gave way to souring scales from all manner of instruments. Then the instruments fell silent. The lights dimmed and an anticipatory hush washed across the audience.
My second surprise was that as the opening scene unfolded, it was clear that the lead character, sat alone at his writing desk, did not have the benefit of a microphone. His voice however was undiminished, and every syllable could be heard clearly throughout the auditorium and above the orchestra. None of the cast used any kind of microphones, their highly trained voices had all the volume needed. Although this opera is in English, the subtitles above the stage certainly helped members of the audience who were unfamiliar with the storyline to keep track of the unfolding narrative.
That talent on display was undeniable. The orchestra sounded truly wonderful. So many instruments coming together so expertly as one musical experience.
SEE ALSO: Review: Shrek The Musical, Mayflower Theatre, Southampton - hilarious!
The talent of the cast was also something to marvel at. Mark Le Brocq (who played Aschenbach) will be, I’m certain, no stranger to praise of his singing voice. Be it delicate, melancholic phrases, or soulful, heartfelt sections, he handled both with equal poise and skill.
What made this WNO’s production of this modern opera different from many of the classics was the use of dance. Sections of the performance would not have been out of place at a Cirque Du Soleil show. The skill of the acrobatic elements of the cast was memorizing. Particular mention must go to Antony Cesar, who played Tadzio. His acrobatic skill, and the training that he must undergo was equal, though very different to the skill of the singers. His poise, strength and movements added to the feel and beauty of the overall production.
Although the storyline of this particular opera is far from thrilling, and some of the music felt somewhat unstructured to my unoperatic ear, the performances, passion and skill of everyone involved was a joy to behold. Every part, from the first notes from the orchestra to the atmospheric lighting was worthy of high praise. This may not be the most familiar opera to experience as a first, but the talents of everyone involved was obvious.
Review by Peter Nicholson
Comments: Our rules
We want our comments to be a lively and valuable part of our community - a place where readers can debate and engage with the most important local issues. The ability to comment on our stories is a privilege, not a right, however, and that privilege may be withdrawn if it is abused or misused.
Please report any comments that break our rules.
Read the rules here