Theatre 2017: Review Thirty - La Boheme

La Boheme, The Royal Opera House, London. September 2017

After our wonderful outing to see Madama Butterfly in the spring Mum and I have been looking at the ROH brochure often for other things to try and so when booking opened for this we were pleased to see that another lunch time matinee had been scheduled.

This time I didn't know the music at all, and only had a vague idea of the story but like all good theatre that didn't matter and from curtain up to last bows I was captivated.

For such a tragic story there were a lot of laugh out loud moments, although mum (who knows the story) says these came from the liberties taken with the libretto. I think that they were needed to balance the story for it showed how much Mimi's tale changed the group.

This was a new staging of the show and I for one loved it, it was deceptively simple and absolutely designed with every seat in the house thought of and the street scene was incredible, it really looked like you could walk down those arcades.

As this is a winter tale snow was falling on the stage a lot of the time and I did feel cold along with the characters and when they lit the stove I swear I did warm up.

I wasn't sure that I was as swept up in the story this time as when we saw Madama Butterfly but as I was crying by the end I guess I was as involved!

Another great trip the Opera House, we recommend the seats up in the amphitheatre - great views and easy viewing of the surtitles - and we are already looking through the brochure for what to see next!

Theatre 2017: Review Thirteen - Madama Butterfly

Madama Butterfly, Royal Opera House, London. March 2017.

It hasn't been that long since I saw the Glyndebourne version of this opera and fell in love with it but when I saw it was going to be on at the ROH I knew I wanted to go again, and this time with my mum and dad. It seemed like we out of luck at first because the tickets we wanted initially sold out before I could get to the website.

After much discussion and checking of the website we decided to risk the £20 seats in the upper ampitheatre - this showed great bravery on mum's part as they were incredibly high up!

We saw the first performance of this opera at a midday matinee and it was wonderful, the staging was simple, sliding doors and lighting conveyed everything needed and the costumes were traditional kimonos for the Japanese roles contrasting with the western dress of Pinkerton and the consul.

Despite being so high up the view was incredible, we couldn't see facial expressions but we could see everything that happened on the stage as well as having a really clear view of the surtitles. The sound was also brilliant, the music and voices just soared up to us.

This was another production where time flew as we were watching it and by the end we were emotional wrecks and totally wrung out - we'd never have known that this was a first performance and we are now avidly scanning the ROH brochure to see what else we can book for these bargain seats!

Theatre 2016: Review Thirty-Six

Madama Butterfly, Glyndebourne on Tour, Theatre Royal, Norwich. November 2016.

I have to thank a friend and colleague for the chance to see this as she very kindly let me take her second ticket to this show.

It has been over four years since I went to the opera last and while I wrote about it favourably at the time I do know that I was nervous about seeing a more conventional production. I had found the confusion caused by so much singing and yet so little translation appearing on the surtitles confusing.  Studying Othello over the pas few years, and seeing the (filmed) opera version of this had explained more to me and so I was much more open to trying again with the format.

I think that it also helped 'knowing' the full story of Madama Butterfly more - after all it does form the basis of Miss Saigon!

Whilst from the first bars of music I was captivated with much of the performance I did find the decision to reset the opera into a post WW2 setting strange - especially seeing as Nagasaki was one of the cities destroyed by the dropping of an atomic bomb, would it really have been a place that welcomed marriages to US sailors or even able to support a thriving Geisha community?

However this soon faded into the background as the story, singing and acting soon made me forget the time period and I was just swept away with Butterfly's story.  Her voice was just out of this world and I really believed that she was a naive 15 year old in love with her American sailor.

Pinkerton was a little more of a problem for me as I didn't really think he came across as quite caddish enough (although as he was boo'd in the curtain call I might be alone in this), he was certainly weak in character - not voice or stage presence - but his persona was for me more of easily lead child than opportunistic and callous opportunist which is what the surtitles seemed to say he was.

The supporting cast were all wonderful both in acting and vocal talent and I admit that at several points I found myself welling up.  The scene where Butterfly and her son were just standing motionless in silhouette at the back of the stage waiting for Pinkerton while off stage the cast performed the Humming Chorus was heartbreaking.

A little bit of me missed the opulence that a Madama Butterfly set in late 1800s early 1900s would have given but I adored this, I've had the score on a constant loop since and I know that I will be trying more opera in the future.

Theatrical Interlude 1 (2012)

Aida, Royal Albert Hall, March 2012

This was a new theatrical experience for me - an opera, in Italian and staged in the round.

I'm not a stranger to opera in some ways as my parents like the music a lot and CDs of various operas were often playing when I was at living at home but actually seeing one was new.

Mr Norfolkbookworm and I went to one of the Christmas music extravaganzas at the Royal Albert Hall just before Christmas 2011 and picked up a leaflet for Aida, on mentioning it to my mum we discovered that it was my dad's favourite opera and thus the super secret birthday outing was concocted.

As there were four of us we booked seats in one of the boxes on the 2nd tier which was lovely, we had a pretty good view of all of the stage, the wonderful projections and the surtitles. We also had plenty of space to store our wet coats and umbrellas which was a great relief as the weather was a little inclement the day we went. Tea and coffee being delivered in the interval was a real luxury and meant no frantic queueing!

I don't know what I was expecting from an opera, I think I thought it would be a little stuffy and hard to follow but, this version at least, captivated me.

The actors, dancers and singers were all, in my opinion, very good. Their voices filled the Hall beautifully and event when the surtitles were brief the plot was easy to follow. The space in the Royal Albert Hall was used to the full, there was a fountain on stage at one point and sometimes the chorus were up above the 'gods' so the singing floated down in a truly beautiful way.

The score was performed by the Royal Philharmonic Orchestra and despite the scale of the venue every note could be heard. The people sitting next to us constantly referring to the RPO as 'the band' nearly had us all in hysterics, such wonderful music reduced to that!

I don't know that I am a convert to opera, I liked this fun, immersive style but when I've seen performances from the New York Met on the television it hasn't captivated me like this one did but never say never, and I am now looking for a good ballet to see to continue expanding my horizons.



The one thing that amuses me however is how sniffy critics can be about modern musicals and their 'thin' plots...to be honest Aida isn't a deep story and the characters all a little fickle. Of course opera is classical and culture so it is all okay - unlike musical theatre which is merely populist.