Adriana Lecouvreur at the Royal Opera House

Adriana Lecouvreur - Royal Opera House, 18 November 2010 (first night)

Perhaps it's true what they say about Angela Gheorghiu. At any rate, someone seems to have sucked the blood out of this money-no-object new production. Sure it's professionally crafted, ideally cast and skilfully performed, but then so is Paint Never Dries. 

Like Lloyd Webster's magnum opus, the root of the problem is the music. Whiffs of Puccini, Bellini, Verdi and even Wagner scent Cilea's score without lending any real identity. Even though the orchestra played beautifully for Mark Elder, and he conducted with fastidious attention to detail, it wasn't hard to guess why it hasn't been scheduled here for over a hundred years.

I imagine Gheorghiu herself commanded the revival - impersonating an imperious diva whilst not venturing above a B must have been hard to resist. Within the limits of her abilities, she was actually not bad. Her pouty histrionics were, in Adriana's theatrical milieu, for once not out of place. David McVicar's mise-en-abîme production kindly assisted her by blurring the division between theatre and reality even further. With chairs and tables placed before an ever-present theatre, it was never quite clear whether we were on, off or back stage - though that benefited Gheorghiu more than the story line.

Incidentally, checking the libretto after the show, I was interested to see how many of what I'd assumed were McVicar's touches (such as a bust of Molière) are actually the original stage directions.

Gheorghiu's voice is not quite what it was. Where she used to float, she now flutters, and her mid-range lacks the clarity and definition of her top. Nerves seem to be a problem too, and she sang a lot more confidently at the dress rehearsal. But as ever she seems unable to make an ugly sound. 

Although the opera's music is weak on characterisation, the libretto helps the singers a bit. Adriana for example converses in a high-flown, poetic style; her lover Maurizio is literal and down-to-earth. That's because she's an actress and he's a soldier. Why then did Jonas Kaufmann play him as a poet? The plot is woolly enough as it is, and Cilea's clumsy cuts to the storyline don't help. It's hard to engage with a character when you don't understand who he is.

Although Kaufmann generally sang with the intensity and baritonal burnish we have come to expect, there were a couple of worrying lines when his pianissimos simply disappeared, entirely unprojected. I wonder if the heavy roles are starting to take their toll.

Alessandro Corbelli as Adriana's secret admirer Michonnet gave the most rounded performance of the night, touching in his devotion and hangdog resignation. The rest of the cast were superb too, with Bonaventura Bottone's camp Abbate a special treat, and Maurizio Muraro and Michaela Schuster as the Prince and Princess of Bouillon.

It was hard to find fault, but at the end of the evening it was even harder to muster real enthusiasm. I don't think I was alone in this either - the applause was no more than dutiful.  I'm going to a later performance as well, to see if Angeles Blancas Gulin and Olga Borodina can make any more of the opera than Gheorghiu and Schuster did, but I have my doubts.

 
 
   
 
  
 
 
 
 
 
 
 

***** UPDATE *****

Here's the curtain call from the *second* night, 22 November (thanks Kyoko):

Comments

[Chris]

I think that Angela G. is envious, because she does not want to share the glory with Jonas. It is so obvious in the photos!
Her main goal is being admired more than any other singer dead or alive.
VANITY should be her matching surname, not Gheorghiu!

[David McVicar]

Goodness! INTERMEZZO, there are some nasty bloggers out there, but for sheer, crass ignorance and spitefulness, I give you the laurels! How nice to hide behind your pseudonym and fling mud at the hard work and talent of others......... bravo!

David McVicar

[inter mezzo]

If you read the post again, you'll find the only person I've flung mud at is the composer. Kind of you to stand up for him though.

[Tristan]

@David McVicar

For once, I agree with every single word Inter Mezzo has written (the rate is usually 60%).

What does David McVicar know about "sheer crass and ignorance"? A lot - his ROH Aida was, sadly, all that and more.

[AJ]

I dont think the problem is the music. I'd take Cilea over Puccini any day, but I think at this point people are so used to hearing the overpraised stuff over and over that it's a familiarity thing.

[Mimoblade]

Sorry for changing the subject but I loved this production, chiefly because all of the 3 main protagonists were mesmerising. I'm not sure I would be so captivated with a different cast. However was distracted, as I always am with Ms G, by wondering whether or not her boobs are going to fall out. How DOES she keep her dress up? Does she have sticky things on her arms? I'm serious, it was really distracting. I was watching from slips so, literally, a birds eye view. I seem to remember the same in Tosca, but alas, there was a no show for the Traviata I booked so I wonder if anyone can tell me, was the same thing happening in that? Don't get me wrong, I don't go to see the cleavage or any of the rest,I'm a massive fan of Angela for all her faults and no shows because she is the mistress of stage presence and opera magic. No one can take that away from her, except perhaps, those boobs. Please someone answer - David McV? How does that dress NOT fall off?

[Aliprando]

Applause is often "dutiful" on first nights - it's that kind of audience.
I can only report that applause at the curtain this evening was warm, enthusiastic and sustained. The work is uneven but has some beautiful and engaging moments, in fact, just like many "standards" of the repertoire. In my view, the singers, the orchestra, the conductor gave a very fine account of it. The production was clear, visually attractive and with some insightful touches about theatre/life/illusion. As an opera-goer, I perhaps haven't yet reached the jaded stage, and am glad of it. I'm grateful to have seen a work "new" to me and am more than happy that I had already bought a ticket for Thursday as well. On this occasion: thank you, Mr McVicar and all your colleagues.

[Nikolaus Vogel]

Bravo Intermezzo - excellent and well argued as always, even though I enjoyed it more than you did!

[Michael]

I dont agree about the first night - the applause was very warm and appreciative, (especially so for JK), and fortunatly not hysterical. In particular I thought there was palpable frisson in the theatre at the beauty of Kuafmanns final note. The production serves the opera extremely well. Its not an opera to see too often, but when it is done as spectacularly as it was at ROH, it reminds me why I love live opera/

[Kit Gill]

I am assuming that that is not the "real" David McVicar posting? Because if it is, it's a bit sad. I will assume its a wind-up.
So, @ "the person using the name David McVicar": the whole point about blogs is that they are not only personal, but more than that, the best ones create a continuously evolving picture of the writer. IM's post on this work is not about *this work*, it is about IM's reaction to the work, and should be read in the context of all her other posts. She does not claim to be writing stand-alone reviews. If you know that IM is actually a wet-knickered fan of Jonas (sorry IM) then you will better understand the slight tone of disappointment at his performance. And so on, mutatis mutandis, about Angela et al.
"Crass ignorance and spitefulness"? The only evidence of that on this blog is to be found in the comments.

[Manou]

@David McVicar - there are twenty or more reviews in the press and online, most of them very favourable - what makes you single out Intermezzo "for sheer, crass ignorance and spitefulness"? There are some vituperative reviews which are far far more critical - but maybe you have answered them too?

In some ways I find it quite impressive to be able to defend one's work in this way, now that the Internet allows it, but maybe cold headed and civil rebuttal is better than excoriation.

For myself, I have only so far seen the dress rehearsal, and I am going to see the production later in the run (with Borodina). I enjoyed the production enormously and am looking forward to seeing it again in a proper performance.

[Julian Hopkins]

The second performance last night (filmed for release next year) was terrific - night and day compared with the first night, evidently. No signs of nerves and all the principals were terrific. The production is one of McVicar's most accomplished and Mark Elder and the orchestra were on their best form. Overall, a credit to the ROH (and I'm very 'picky'!), and how nice to see "Adriana" again in such great circumstances.

[Andrew Morris]

I wouldn't bother rattling McVicar's cage too much - I've seen him post similar over-reactions on other review comment pages. I can't see anything spiteful about IM's review. As someone outside the opera world looking in, I love her style. The thing that always gets me about people reacting strongly against criticism of their work is that, while it must hurt when someone aims a barb at something you've done, it's not as though people in the audience aren't thinking and saying the same - and worse. And going home and telling their friends. But then, I've never directed an opera or stood up in front of the paying public and sung, so what do I know?

[Steve W.]

I can only just stomach the diva-ness of a star soprano from Romania, but a diva director from Glasgow... leave me out!

[OperaCreep]

Intermezzo, a really thoughtful review. Written from the perspective of a true opera fan. Cilea bores me senseless so had no impetus to see La Gheorghiu. But it's a welcome relief for a MacVicar production at ROH not to have some silly, pointless nudity for the sake of it (like the universally panned Aida).
Looking forward to reading more of your reviews!

[Ysabel]

@Mimoblade: From the pics it looks like she's got some strong elastic around her upper arms, that runs across the top of the neckline as well.

This was a well-written review. I wouldn't worry that the real David McVicar is running around the nets flaming bloggers. That would be creepy and weird.

[Mark Masterson]

Intermezzo, you are of course entitled to your opinion of Cilea but I would think you might want to consider the fact that it is indistinguishable from a modernist aesthetic cum, what?, a knee-jerk devotion to the canon? It depresses me to see otherwise thoughtful persons so free with the most predictable of filler in their reviews of pieces that are not from the sainted trio of Mozart, Wagner and Verdi (and others, depending on the person involved). This was by no means a thoughtful review as far as Cilea was concerned. It was in fact highly derivative and the kind of thing I see in the newspaper all the time.

[Lily]

I disagree with Mark M. The review is simply less ecstatic and happy than some of Intermezzo's others. For Intermezzo, was the night disappointing? Confusing? A little lacking in cohesion? Apparently.

A blog review is a personal reaction, not a paid ad for a production, nor a newspaper's supposedly objective review by someone theoretically expert in this field.

Unless one is a music professional, I imagine it is not easy to be well-versed in Cilea. For anyone, it would be hard to compare this production with many others since his works are so seldom performed.

[Enda Vanyra]

McVicker is a lazy pig of a director who relies on others to formulate his work for him. Only his Namaan is worthy of being a good idea.

[Bythorn]

reviewers are never paid by the companies to come... just to knock any conspiracy theories out of the bag. What you read in news papers is objective, but written by people who know what they're talking about, and not just that, have a tallent for clearly expressing themselves.

Everyone's objectivity is hindered by their perspective, its not possible for one brain not to be. Rather than fight out the pros and cons of bloggers and official reviewers why not appreciate the spectrum of opinion. Ditch the catty-ness, get on with the debate.

[mimoblade]

Thanks for answering my question about how the dress stays up. Apologies if its too low brow a comment for the genpop! I'm here again tonight and guess what, La G did a no show- thank god I didn't break the bank for it). Its missing a certain something without her but defo woth seeing again I wonder if it would be worth seeing at all though without Kaufmann and wonder what others think. The rest of the cast are wonderful and I really like the production (didn't like Aida- walked out). Can't decide, but its nice to be introduced to lesser known works that aren't a total waste of time...
But HOW irresponsible with other people's money can La G get

[May]

I would imagine she doesn't do it out of disrespect for other people's money. It must be hard at the top- a susceptible position- it's draughty and lonely up there at the top of the pyramid (though with the good company of the great JK, who as a singer, musician and the owner of an inquisitive mind, I think is superior to her). It is impossible for members of the public to know the real deep truth behind the cancellation. Maybe AG's nerves aren't up to it all the time? It's really sad though that she keeps disappointing her devoted fans.

[mimoblade]

My own personal statistic is that I've got a 50% chance of her turning up if you book, but that might go up if its for either a first night or a night that will be televised. I did get to see her as a gracious surprise stand-in for Deborah Voight, which is the first time I ever saw her, and suddenly understood what all the hype is about, and I can't put it into words, not sophisticated enough. I'm more of a "does it move me" or not, type. Together with JK it REALLY works. I'm sure she has good reasons each and every time but you don't get a reputation for being a flake for no reason. I'm not aware of anyone else so unreliable, and the ROH puts top top price on her billing, and seemingly sits back and rakes it in. They cant even shift the tickets for the nights she's not billed. So thats irresponsible, in my view. TO make sure you catch her, you need to book 3 out of the 6 she agrees to do. And if you catch it, its worth it

[Brian]

Well AG appeared on Tuesday evening fortunately as the performance was recorded for Video/cinema film/DVD. The presence of Olga Borodina certainly made a difference and the whole performance of all 6 principals was superb.
As AG and Sir Mark have made a broadcast trailer on Radio 3 for Saturday's performance, she surely must appear for that one!

[a mac]

She turned up last night (4th Dec) - ! I saw it on the 27th as well.

I have to say it was fantastic last night - Kaufman was excellent as was Borodina. Gheorghiu was far superior to Gulin (IHMO)

The opera is limited - as has been pointed out many times ! but I couldn't help think this was about as good an account of the piece as you are ever likely to see