Paul in London

Stephen Sondheim's Grand Guignol musical-opera Sweeney Todd is back in the West End. This time it is with the versatile (and somewhat unrecognisable) Michael Ball in the title role and Imelda Staunton as Mrs Lovett, his partner in crime. The tale has been told in many forms, and the last time it was on the West End was in John Doyle's wonderfully claustrophobic production where the cast doubled as the orchestra. This time around, this Chichester Festival transfer provides a slightly more traditional staging of the production with a grand set and elaborate set pieces. Of course, it is still probably Victorian London as the story does not make sense in any other period, but you could be forgiven with the odd car, costuming and set decoration that it could also be the 1930s...

As part of the Vault Festival , which transforms a series of interconnected tunnels underneath Waterloo Station into something theatrical and fabulous this month, I caught a packed production of La Boheme by Silent Opera with @Johnnyfoxlondon . Like other companies , Silent Opera is about taking operatic masterpieces and adapting them into modern settings. What makes them unique is that they tap into the iPod generation and use headphones to place the performers and the music in real life and odd spaces. The former National Rail plans and drawings archive must fit the latter. With a mix of levels, false ceilings, grimy floors and porta-loos, it is a far cry from the Royal Opera.

La Traviata which is playing  Upstairs at the Gatehouse  is a surprising treat. One of the most loved and most performed operas with its beautiful music and fully developed characters, in the Gatehouse's intimate space becomes an intensely emotional affair that has the audience alternating between sobbing and cheering. This is the same company that presented the economic production of Troy Boy last year. Again by  Kit Hesketh-Harvey , this new translation and adaptation moves the action into the heart of cosmopolitan East London. Well the part where there are dodgy burlesque clubs and marriages that still need to preserve reputations. Moving and updating the actions opens up a whole range of  possibilities. Sempre Libera now includes a lap dance on one lucky audience member. Since  Anna Jeruc-Kopec who plays  Violetta has a great set of legs to match her set of lungs, it came as no surprise when she started to get a good mauling by the audience... They can be funny like tha

 Thursday evening I found myself at the launch event for The Show Must Go On , which is a rather nifty little game that brings together opera, cheap laughs and the iOS platform. Given all three are favourites of mine I downloaded it . It is very cute and quite amusing little game, recreating Covent Garden and backstage at the Royal Opera when everything goes wrong. The game puts you in the shoes of a stage manager and includes a series of mini games. Within these you have to undertake a variety of back stage tasks in order for the show to go on. I particularly liked running over the rooftops of Covent Garden chasing sheet music and dodging pigeons. Depending on how well you do, depends on how good the show is. So far I have only created rubbish shows... The game might be trying to tell me something but I will ignore that for now and keep practicing... An interesting collaboration between the Royal Opera , including its sound technicians singers from the Jette Parker Young Artist p

 Opening night of La Sonnambula at the Royal Opera was an opportunity for Eglise Gutiérrez to show off some incredibly light yet lingering high notes in this piece about jealousy, mistaken identity... And sleepwalking. It is a mildly silly opera but the piece by Bellini with its music and creative forces at work make you overlook these things and the let the action unfold in what looks like a large railway station foyer. The cast are great and rising star tenor Celso Albelo makes his Royal Opera debut as the jealous composer Elvino. But the real passion and drama was perhaps watching Gutiérrez and conductor Daniel Oren create music together. It was exhausting yet exhilarating and what any good night at the opera surely is about. Nothing too serious but lovely music set to a mildly amusing farce, complete with a domineering mother. It runs through to November 18.

Der fliegende Holländer (The Flying Dutchman) at the Royal Opera is an opera with a long burn. But the story comes together in the last act so quickly, with music so rousing and a production so stylish that it will almost leave you breathless. The opera tells the tale of the captain and his ghost ship that is doomed to sail the seas forever unless its captain can find a wife once every seven years when the winds will bring him ashore. It is the seventh year and again his ship is washed to the shores of a Norwegian fishing village. The daughter of a ships captain has heard of the tale of the ghost ship and wants to save him, regardless of what her former boyfriend things. It is at times a frustrating opera as there is so little action happening and then there is so much at once. The production updates the time to a late twentieth century period when socialist aesthetics and polyester reign. It is jarring and gives rise to anachronisms about ship sails but as things progress it takes u

The Passenger which is having its UK premiere at the ENO's Coliseum, is a lavish production with a great cast. It is a pity that the music does not live up to the standards of production. By interval I found it to be hard going with little reward from the Shostakovitch-like score. However upon heading to the bar for interval drinks I found myself listening to an elderly gentleman also heading to the bar who thought it was brilliant and compared it to Shakespeare. Or Shakespeare with a lot of clanging... Following that brief discussion, it seemed like it would be too easy to leave and not come back for the second half. So @Johnnyfoxlondon and I returned to the general area of our seats. The lady next to me in the first half who was texting on her phone throughout and laughing at rather serious parts of the piece had not returned so we had room to spread out. Fortunately in the second half, the music and story is much stronger. There are also a surprising blend of styles includi

Madama Butterfly (appropriately subtitled "Japanese tragedy in three acts") is a little too dramatically obvious, and musically unsatisfying. But the performance by Kristine Opolais as Cio-Cio-San is the sort of dramatic and powerful performance that this piece needs and she had the audience cheering for her on Saturday night. It is all high melodrama and her transformation from a meek and feeble fifteen year old girl, to a woman rejected is incredible and really fleshes out this minimalist production.

The Royal Opera's production of Macbeth has its final performance on Saturday. It is a great production with a strong performance by Simon Keenlyside in the title role, and a hell of strong performance by Liudmyla Monastyrska as Lady Macbeth. When she first appears lying on a bed you have no idea the power the voice you are going to hear. But wow. She is perfectly suited for the role and the audience was very appreciative of the performance. Matching this is a series of strong choruses energetically conducted by Antonio Pappano. Verdi's opera is a fast-paced drama that gets to the essence of Shakespeare's play and all the performances worked so well here bringing it all together This production directed originally by Phyllida Lloyd is an interesting mix of the bloody and sophisticated and even if it has received ambivalence in previous outings , it all seemed to hang well together. I particularly liked the chorus of witches as Frida Kahlo clones that are integrated

It was interesting to try and attempt to transplant Genoa from the 1300s to the 1960s in this  ENO production of Verdi's Simon Boccanegra . It does not quite work, but it still looks so sophisticated and hip you can probably overlook this and feel smug anyway. Unless of course you were the lady next to me who was unwell five minutes before the end of the first half and fell over my man bag running for the exits. But I digress... There is some beauty in this production as tableaus become images and spectacle abounds. Although if you have been to Genoa and seen the palaces that the Doges - who were elected for life and were among the leading merchant families of the region - it makes it a bit hard to comprehend why everyone was moving about in grey suits and minimalist sets. The opera itself is fairly convoluted and requires descriptions projected onto curtains between scenes just so you have a vague chance of understanding what is going on. So the modern transplanting of the op

If opening night was a sensation watching Rolando Villazon in the title role, closing night didn't disappoint either. At the curtain call Villazon was very excited and shouting like a very satisfied man. The audience was on its feet applauding. It was mutual admiration. Villazon's performance made Werther, a tragic story about a young troubled poet who falls in love with a woman committed to someone else, incredibly passionate and engaging. His act three aria was worth the price of admission alone. Even in the context of an incredibly melodramatic opera, you couldn't help but be drawn into this world. And at the curtain call I couldn't help but think he must be awfully fun at parties. Opposite Villazon was Sophie Koch  playing Charlotte, the woman who is his obsession sounded great too. But focus of the  opera is the tragic young poet. With Antonio Pappano in the orchestra pit, the music was incredibly lush and intense. All breathtaking stuff... It was enough to m

I had reservations about catching the final night of Fidelio at the Royal Opera. The bad notices for this production (although not for the performances) had lowered my expectations, but in fact there is much to enjoy about this work, and no doubt explains why it is a favourite among some people. It is easy to understand why it is still performed. The leading lady gets to disguise herself as a boy, fend off the love interest of a woman, rescue her husband and inspire a minor revolution. All during this there are some very interesting arias to sing, and the second half things get particularly dramatic. It is a rather inspiring work with a strong central character. Nina Stemme in the lead role was also strong and believable. She spoke on an earlier Royal Opera podcast about the role and she gives the piece a solid foundation. She also looks perfect for the role of a woman who disguises herself as a boy (and she is helped by some rather sensible trousers, jacket and cap)... At tim

Tuesday evening was an opportunity to catch the first preview of The Emperor of Atlantis (otherwise known as Der Kaiser von Atlantis) by Viktor Ullmann. The production is the first from the recently formed Dioneo Opera Company , which is focusing on contemporary and lesser-known works. Based on this production, their future looks very promising.

I couldn't pass up the chance to see David McVicar's production of Aida at the Royal Opera on Tuesday. I liked the first time around so an invitation to see the dress rehearsal with a few other bloggers seemed like an awfully sensible way to spend a Tuesday morning. After getting past the crowd of old age pensioners and students that seemed to make up this preview audience (and they are a tough crowd - well the pensioners anyway - steer clear of their elbows), having a strong cup of coffee, we settled down in our seats to watch the drama unfold. Johnnyfox and I were given the choice of the stalls or a box. We opted for the director's box. There is something thrilling about this production of the opera that lingers with you. It is alternatively bloody and sexual, but never feels out of place or over the top as Aida productions can tend to be. Instead there is an intimacy that draws you in to the central characters and recurring themes of war and love. War comes first,

It would be fair enough to say (to borrow from the Opera and from the late Ms Anna Nicole) that the Royal Opera's Anna Nicole blew us... away on Thursday night. The performances, production and the opera was inspired. What starts as a dig against a C-list American celebrity ends up becoming a strangely poignant opera where you feel some sympathy for the slapper. You may even begin thinking she is the Traviata of the day. That is the trouble with the arts, they can make people seem so much nicer than reality. Still if you can stomach sympathy for Anna Nicole, this cautionary tale against fame turns out to be quite a ride. Then again the real Anna Nicole was quite a ride too... The music by Mark-Anthony Turnage is a jazz-operatic fusion that keeps things moving along nicely and seems perfectly matched to the story and subject. The libretto by Richard Thomas is often good too, although it seemed (at least in the first half) there was too much emphasis on profanities rather th

Wednesday night was an opportunity to catch the ENO's Parsifal . This 1999 co-production with San Francisco Opera and Lyric Opera, Chicago and is purportedly the last time it will be staged. There are seven more performances to go. Directed by Nikolaus Lehnhoff , What makes the opera a standout is the brilliant staging and imaginative English translation. This translation transforms this production and keeps things moving at such a pace you won't realise you have been there for over four hours. On top of this there is such spectacle at times it is almost hypnotic. A stunning cast includes John Tomlinson as Gurnemanz, Australian tenor Stuart Skelton as Parsifal and Jane Dutton as Kundry. Mark Wigglesworth conducts. Wagner is still an acquired taste, but this probably goes some way to make this work accesible (and palatable). Leave work early and go. There are greater powers at stake. Initial 'boo raves and reactions as follows: Listen!

Thursday night I caught the Merry Opera's new production of Troy Boy at Upstairs at the Gatehouse . The Merry Opera company takes opera productions and develops new English translations with a twist. It is a great concept, although in this case more abridging of the source material might have helped. I doubt there is much that would be missed from Offenbach's La Belle Hélène (the story of Helen of Troy) if an extra half hour was cut from it. Nevertheless there is some fine singing and performances in this occasionally sexy production. The energy and enthusiasm of the cast is without a doubt. I liked the concept of Helen stuck in suburbia and beginning to let her mind wander in a Greek restaurant. It  gives this otherwise odd premise some solid grounding. There were (at least on Thursday night) a few creaky moments with furniture bumped and props knocked over, but no doubt these will be ironed out as the run progresses. And this is such great value for a night out, with tic

The first attempt to see La Bohème at the Cock Tavern last month was thwarted by snow (and the subsequent obligatory transport disruptions), so it was a relief to catch it at the Soho Theatre on Tuesday night to see what the fuss was all about. This production of Boheme updates the story to the present day and is in English. The story is now in London Soho where poor struggling bloggers writers are trying to make ends meet. Mimi is an eastern European migrant worker who makes a bare living cleaning people's homes. When you read stories about homeless Poles eating rats , none of the problems the characters face in the opera seem far from the harsh realities for some of living in London today. While the singing is good (but not great), what sets this show a cut above anything else is the passion and emotion the cast convey. There is an awful lot of energy and enthusiasm here... At the end of the second act everyone is asked to make their way to the bar, and the show commen

The hours seemed to fly by watching the Royal Opera's new production of Tannhäuser on Monday evening. The opera about man's dilemma between passion and purity is told on a grand scale with an enormous cast and all are in very fine voice. Johan Botha in the title role is the man unhappy with the excess of Venusburg and unsatisfied with harsh earthly realities. There is no pleasing some people I suppose, but he manages to give this story credibility and power throughout the four hours of the performance. The production itself is minimal with the orgiastic excess of Venus's grotto Venusburg limited to the Royal Opera's velvet curtain and a rather large dining table. When a sensual and athletic ballet emerges from what started to look like a gala dinner at the opera you couldn't help but wonder if all opera fundraisers are that fun. If there was only one disappointment here it was thinking that Venus (the lovely Michaela Shuster ) should not be in a dinner dress as

I finally managed to see la Gheorghiu perform in an opera. It was at Saturday's Adriana Lecouvreur at the Royal Opera . David McVicar's new production has received rave reviews, but seeing it for yourself is another matter. There was such anticipation ahead of Gheorghiu's first appearance, and she did not disappoint. And neither did anyone else in this production. In what at first appears to be a convoluted story, it boils down to a simple love triangle. Besides when Jonas Kaufmann and Gheorghiu are singing together, you are less concerned about the plot anyway. Filling out the triangle was Russian mezzo-soprano Olga Borodina who added to the fireworks. Star power aside, this opera manages has a series of substantial supporting roles that draws out some excellent performances. It was hard to believe such a good cast and an elegant production could make such high melodrama feel so glamourous. The show has sold out this run (including with the alternate cast), however