Tag Archives: Wales Millennium Centre

Music, Opera & classical

Rigoletto, a review by Eva Marloes

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out of 5 stars (3 / 5)

At the core of Rigoletto is the tragedy of an overprotective father, Rigoletto, who wants to kill his daughter’s suitor, the Duke, a well-known womaniser, but has his daughter killed instead. Gilda is a victim of her father’s control, of the Duke’s seduction, but also of the often misogynistic notions of love as self-sacrifice that lead her to her demise. Yet the Duke is also tragic.

Verdi moved away from Hugo’s story Le roi s’amuse, on which Rigoletto is based. The Duke is not just a womaniser with no scruples, making fun of women in La donna è mobile. He is a dissolute man but one who is seduced by Gilda’s purity and perhaps even falls really in love with her.

It’s a tragedy that is never staged. Most productions are seduced by the need of being relevant, contemporary, even topical. There are times when, thanks to fortuitous timing, the contemporary political setting works. This is the case of the WNO’s production of Rigoletto in 2019 set the opera in Washington at the height of the #metoo era. The staging, direction, orchestra and performances were superb.

This production of Rigoletto is pleasant, with good performances but tame with a subdued orchestra and no clear take. Adele Thomas’s direction has no clear and consistent interpretation of the drama. There are references to politics and the Bullingdon club but in 18th century costumes making the staging confused and confusing. The direction constraints the performers and fails to convey the contrasting elements of the seductive myschief, tragic love, and suspence of the opera.

Daniel Luis de Vicente, Alyona Abramova, Raffaele Abete and Soraya Mafi in Rigoletto. Photo Richard Hubert Smith.

Soraya Mafi, as Gilda, has a beautiful voice and performs Caro nome impeccably, yet her Gilda is a little too fragile. Raffaele Abete, as the Duke, sings well. His voice is agile but not powerful enough to carry the persona of the Duke. The direction and interpretation makes this Duke a bit of a lightweight. He’s not seductive, he’s not even a bad boy, he’s merely vain. 

Daniel Luis Vicente excels as Rigoletto cutting a very tragic figure and, at times, stealing the scene, including the final quartet. Notable are also the performances of Nathanaël Tavernier as Sparafucile and of Alyona Abramova as Maddalena. Abramova performs soulfully, but being a mezzo rather than a contralto, does not provide a sufficient contrast with Mafi’s Gilda in the final quartet. 

The strong performances make this production pleasant but constrained and at times, especially in the final quartet, disjointed. The orchestra, conducted by Pietro Rizzo, lacks power. The scene of the storm is disrupted by the rather ill-conceived idea of firing lights onto the audience instead of letting the music conjure the wind and thunder.

The WNO can do a lot better than this, as shown recently in Il Trittico. It can excel. Let’s hope this is a blip, perhaps the result of the cutting of funding and constant insecurity over their future. The WNO is a treasure in Wales and should be supported and allowed to grow.

Musical, Theatre

Review: HAIRSPRAY 30.7.24 WALES MILLENIUM CENTRE Patrick Downes

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Hairspray at the Wales Millennium Centre in Cardiff was an absolute whirlwind of fun, energy, and infectious joy. This production captured the essence of the 60s with a vibrant, colourful, and over-the-top spectacle that left the audience cheering and dancing in their seats.

From the moment the curtain rises, you’re transported to Baltimore, where the rhythm of the music and the infectious enthusiasm of the cast immediately grab your attention. The iconic songs, including “Good Morning Baltimore,” “Welcome to the 60s,” and the show-stopping finale “You Can’t Stop the Beat,” were delivered with powerhouse vocals and impeccable choreography.

The heart of the show, of course, is Tracy Turnblad, played by Alexandra Emmerson-Kirby in her professional debut. She was just sensational. Her incredible voice made her the perfect embodiment of this beloved character. The supporting cast was equally impressive, with standout performances from Edna Turnblad (Neil Hurst) and Wilbur (Dermot Canavan) certainly stole the show with “(You’re) Timeless to me”.  Michelle Ndegwa also made her professional debut in the show as Motormouth Maybelle having been selected from more than 3,000 people who applied to the open auditions in November last year.  “I know where I’ve been” is such an emotional number and to perform it in the way Michelle did, wow!

The set design was simple but visually stunning, capturing the spirit of the era with colourful projected backdrops and eye-catching costumes. Most touring shows follow the same process – and Hairspray delivered. The choreography was energetic and fun, with the ensemble dancers bringing a high level of skill. The show start seemed a little laboured and it probably wasn’t till the second number things started to gel.

I’ve said that I believe Hairspray has one of the most incredible show finales – even better than Les Misérables – granted no one dies in Hairspray and it would be like comparing a Mini with a Porsche. But it certainly leaves you with a smile on your face and a spring in your step. It’s a feel-good show that’s the perfect antidote to a bad hair day!

Patrick Downes

Music, Opera & classical

Puccini’s Il Trittico, WNO, a review by Eva Marloes

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out of 5 stars (5 / 5)

The Welsh National Opera delivers an excellent production of Il Trittico by Giacomo Puccini, where singers, chorus, and orchestra perform beautifully with skill and pathos. This is no small feat for a sophisticated and yet underrated work, consisting of three one-act pieces of starkly different registers. One only hopes that management will rethink the misguided cuts to the wonderful chorus and orchestra.

The night begins with Il Tabarro (the cloak), dark and intense, is perhaps the most refined musically of the three pieces. It tells the story of Giorgetta (Alexia Voulgaridou), dissatisfied with her life with Michele (Roland Wood) travelling from place to place on a barge. She falls for kindred spirit Luigi (Leonardo Caimi). Michele realises Luigi is Giorgetta’s lover, kills him, and forces her to look at her dead lover.

Roland Wood as Michele in Il Tabarro (photo credit Craig Fuller )

Contrary to Toscanini’s dismissal of the opera as grand guignol, Il Tabarro never indulges in sensationalism. Puccini’s mature music combines passion and restraint. Voulgaridou, Wood, and Caimi all deliver the haunting drama with great emotional depth.

A splendid Alexia Voulgaridou gives voice to the pain of Suor Angelica, the second piece. The story of a woman forced to become a nun after giving birth to a child. Her Princess aunt visits to tell her that her son is dead. Angelica kills herself in the hope of being reunited with him, then she despairs as she realises that her suicide condemns her to hell. In in her final moments of anguish, she experiences hallucinatory or mystical transcendence, and embraces her child. 

The subdue and soft music lets the tension between Angelica’s suffering and her hope unfold. Voulgaridou delivers Angelica’s irrational demise or transfiguration with striking pathos, doing justice to a much misunderstood Suor Angelica. 

Alexia Voulgaridou as Suor Angelica in Suor Angelica (photo credit Craig Fuller)

The night ends with the unadulterated fun of Gianni Schicchi, where a family is left penniless as the patriarch dies and leaves his fortune to a monastery. They engage the wits of peasant Gianni Schicchi (Roland Wood), who pretends to be the deceased and dictates a new will to the notary. As he does so, he makes sure the largest part of the family fortune goes to him. 

Haegee Lee as Lauretta and Roland Wood as Gianni in Gianni Schicchi (Photo Credit Craig Fuller) 

Roland Wood performs with humour and sagacity, Haegee Lee, as Lauretta, sings Mio Babbino Caro beautifully. The three pieces have an excellent cast all around, including Tichina Vaughn (The Princess in Suor Angelica and Zita in Gianni Schicchi), Wojtek Gierlach (Il Talpa in Il Tabarro and Simone in Gianni Schicchi), and Oleksiv Palchykov (Young lover in Il Tabarro and Rinuccio in Gianni Schicchi), who entertain and enchant the audience.

In the expert hands of Carlo Rizzi, the WNO orchestra brings together the three pieces giving them a sense of continuity. They excel at balancing the restrained with the emotional thus delivering the intensity of Puccini’s music and drama. As Puccini would have wanted.

Dance

REVIEW, EDWARD SCISSORHANDS AT WALES MILLENNIUM CENTRE CARDIFF BY BARBARA MICHAELS

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Ballet, based on original story and film by Tim Burton
Adaptation: Caroline Thompson
Devised and directed by Matthew Bourne
Music; Danny Elfman and Terry Davies

out of 5 stars (4.5 / 5)

Making a welcome return to Cardiff, Edward Scissorhands is arguably not only the most hauntingly beautiful of Bourne’s innovative and unique productions but the most in depth and soul searching. Brought up to date with new music, the story of a boy that is different and as a result suffers jibes and discrimination, Bourne infuses this new production with an added poignancy cognisant with contemporary mores and awareness of mental health issues.

Based around the central character of a boy with an abnormality which causes him to face problems in the world – a world unknown and alien to him – Edward Scissorhands is complex and far from easy to relate in balletic form, although Bourne can be forgiven for the occasional grunt or shout. Created by an eccentric inventor, Edward is left unfinished with elongated scissors in place of hands when his creator unexpectedly dies, leaving him to face the challenges of an unknow world. As with all Bourne ballets, the dance is an amazing mix of classical and modern plus maximum use of mime, danced with empathy and expertise by Bourne’s New Adventure Company.

On Press night, the lithe and lissom Liam Mower, who back in 2015 first danced the central role of Edward – arguably one of the most difficult roles in Bourne’s diverse repertoire. – brings to the stage a knowledge and perception of the character, targeting the highs and lows of a young man who is desperate to be accepted despite fighting against prejudice and suspicion.

Not only do the principal dancers shine, but the whole of Bourne’s young and enthusiastic New Adventures Company show expertise in the different dance genres, segueing seamlessly from one to the other, under the tuition of New Adventures Take Part Creative Director Kerry Biggin who on opening night in Cardiff, danced the principal female role of Peg Boggs, the young housewife who befriends Edward. Opposite her, Dominic North dances a self-assured Bill Boggs.

Bourne’s choreography, inclusive of both the lifts and Grandes jetés of classical ballet and bang up to date acrobatics of street dance (seen also in Bourne’s ballet The Car Man) is in this respect unique. Lez Brotherston’s atmospheric set designs make an important contribution to the success of this ballet, aided and abetted by Howard Harrison’s atmospheric lighting. Worth noting that Brotherston also designed the great costumes.

Overall, a ballet that with a dark element yet with comic touches throughout that lighten the load. Does Edward overcome the problems of the title? It would be a spoiler to tell!

Music, Opera & classical

Cosi Fan Tutte – A review by Eva Marloes

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out of 5 stars (3 / 5)

The Welsh National Opera’s staging of  Mozart’s Così Fan Tutte takes literally the opera’s alternative title, The School of Lovers, setting the action in a British school with a 1970s feel. The first act opens with the chorus in school uniforms carrying gigantic cutouts of genitals and plants onto the stage and forcing sexual innuendos on the opera. 

Don Alfonso (José Fardilha) is the headteacher betting with school kids, Ferrando (Egor Zhuravskii) and Guglielmo (James Atkinson), that their fiancés, Dorabella (Kayleigh Decker) and Fiordiligi (Sophie Bevan ) can be easily seduced. The lovers accept and dress up as late 1960s hippies with fake moustache and set off to woo each other’s girlfriend. Don Alfonso engages the service of Despina, here a dinner lady, to add pressure on the girls. Dorabella and Fiordiligi resist the admirers as much as possible but they are outnumbered and outwitted by the conspiracy.

Egor Zhuravskii as Ferrando, Rebecca Evans as Despina, and James Atkinson as Guglielmo. Photo credit Elliott Franks 

The Così Fan Tutte is by no means an easy opera for a contemporary audience. It is blatantly sexist with men putting pressure on women to the point of emotional abuse. The seducers are not only faking love but also pretend to take poison to blackmail the girls into giving in to their advances. Lorenzo Da Ponte’s drama makes fun of the late 18th century battle between reason and sentiment. Mozart’s music delivers its irony by juxtaposing dramatic arias with musical clichés to draw attention to the contrived nature of the situation. This complexity is lost under the direction of Max Hoehn. 

Hoehn’s overtly sexual comedy comes dangerously close to a Benny Hill sketch. Rebecca Evans, as Despina, gives a solid vocal performance, weighed down by the heavy-handed interpretation set by the tone of the production. There is no subtle irony to counterbalance the deep sentiment expressed by Dorabella and Fiordiligi. The occasional incursion of members of the chorus as teenagers doing nothing but playing with cutouts on the scene only succeeds in trivialising the drama. 

Egor Zhuravskii as Ferrando. Photo credit Elliott Franks.

The fine performances keep this unsteady ship afloat. Egor Zhuravskii excels as Ferrando. Sophie Bevan gives a good performance as Fiordiligi, though at times a little strained. Kayleigh Decker, as Dorabella, and Rebecca Evans, as Despina, give good solid performances. The trio Bevan, Decker and José Fardilha, as Don Alfonso, deliver an exquisite Soave sia il vento. This production cuts slightly the opera yet the orchestra, conducted by Tomáš Hanus, maintains a pace that still feels too slow. The strength of this production lies in the ensemble pieces delivered beautifully by the six singers. 

Musical, Theatre

REVIEW: I SHOULD BE SO LUCKY,WMC #Cardiff 28.11.23

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The wedding is OFF, but the honeymoon is ON!

In a world of AI, EDM and BPM*, one acronym from over thirty years ago still lasts the time. SAW (Stock Aitken Waterman) were a highly successful British songwriting and production trio in the late ’80s and early ’90s, creating numerous pop hits for artists like Kylie, Rick Astley, Bananarama, and Jason Donovan. Mike Stock, Matt Aitken, and Pete Waterman crafted a signature sound that dominated the charts, known for its catchy hooks and energetic beats, contributing significantly to the era’s pop music landscape. And in fairness back in the 80s/90s – their chart presence was sometimes mocked – but fast forward thirty years, how many jukebox musical have been made about The Smiths, New Order or Nirvana?

I Should Be So Lucky is about family, friends, love and great times. Ella and Nathan, a young couple, hopelessly in love, and about to take the biggest step of their lives – marriage. Until it all goes wrong. Will they be together forever, or will he make her cry and say goodbye?

To start, I need to declare I do love jukebox musicals. They’re not everyone’s cup of tea, but there’s space in musical theatre for something with a feel-good factor – not all musicals want to make you cry (Wicked/Les Mis). One of the most successful is of course Mamma Mia, so there’ll always be some kind of comparison. A common complaint can be that the songs are crowbarred in and don’t really follow the narrative of the story – I can’t say this wasn’t the case of I should be so lucky, but when the story is crafted by Debbie Issit (Nativity-The Musical, Christmas at Mistletoe Farm), there’s enough character for everyone to relate to. It does feel though that there’s just too much going on, and at times I felt instead of jumping back and forth each characters’ story arc, just concentrate of two sets of story, and make the others into a sequel? Just an idea?

Set wise, simple but effective and worked so well – touring productions must find it difficult to adapt to different venues in short spaces of time – but sound and lighting was also spot on.

Cast was on point – and actually looked like they were enjoying themselves – you do often see productions where for performers, it’s just a job. Kayla Carter’s reimagined version of Sonia’s you’ll Never Stop Me Loving You was the stand out moment of the night. As well as Dead or Alive’s you spin me around in a Turkish folk style. I need this soundtrack album in my life!

A proper feel good jukebox musical with so many classic (and yes I mean that sincerely) SAW songs. Even Donna Summer’s Breakaway from 1991.

Loved also seeing Pete Waterman doing selfies with people. A true British music legend, who at the time wasn’t regarded as cool. The man is the epitome of Britishness cool – and the back catalogue of him, Mike and Matt, provides the soundtrack to many a night out of the 80s and now.

If you want a real good, feel good night out in the theatre, I should be so lucky is definitely that. It’s all there especially for you.

Rating: ⭐️⭐️⭐️⭐️

Reviewer: Patrick Downes

PS.

  • AI – Artificial Intelligence

  • EDM – Electronic Dance Music

  • BPM – Beats Per Minute
Musical, Theatre

Review, Branwen: Dadeni, A Wales Millennium Centre & Frân Wen Production, by Gareth Williams

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out of 5 stars (4 / 5)

A turning point? Branwen: Dadeni certainly feels like it. This “epic new Welsh language musical” heralds a potentially exciting new era for the nation’s theatre. Why? Because it is by far the most ambitious, large-scale theatre production in the Welsh language yet. Testament to what can be achieved when the might of Wales Millennium Centre meets the creative ambition of Frân Wen. It is no understatement in describing the show as worthy of a West End run. The culmination of a long-held confidence by some that our culture is worth investing in.

Adapted from The Mabinogi, this new version exports the mythic weight of the original into a bold and contemporary style. The result is a classic piece of theatre, Shakespearean in size, but with a cutting edge that makes it feel fresh and new. The musical element is a key component to this: a combination of choral tradition, music hall operetta, Sondheim-influenced harmonies and Disney-inspired ballads. Seiriol Davies has not been afraid to draw from the wide pool of musical theatre history and infuse it with Welsh character to create a score brimming with personality. The result is a captivating story. An absorbing commentary on power, family and history that could have been heavy or dictatory but has, instead, been generously and lovingly portrayed.

https://www.youtube.com/watch?v=cSOWqI4YPSo

The costumes fit nicely with each of the characters: from the flowing dresses of the idealist Branwen (Mared Williams) to the army-like uniform of her renegade half-sister Efnisien (Caitlin Drake). So too, the choreography captures beautifully their contrasting personalities: particularly the swish swooning of Matholwch (Rithvik Andugula) in the presence of a buttoned-up Bendigeidfran (Tomos Eames). It is in the songs though that this royal cast of kings, queens and consorts really comes to life. And when one hits the right note, the emotional affect can be overwhelming. Take the tale of the snowfall for instance. The way that Mared gently presses her vocal against the window through which her character witnesses such a scene. So poignant and hopeful, it brings a tear to the eye. Or Gillian Elisa’s vivacious solo, in which her character runs roughshod over the King to proclaim where true power lies. It is delivered with such abundant force as to raise a rapturous applause from the audience.

These are moments which are memorable not just in the context of the show. They make an indelible mark on the mind in the way that some of the best musical theatre productions do. Finding yourself driving home with lyrics still playing out in your head. Fingers tapping the melody on the steering wheel. Feelings still flowing through your body as you go to bed. This is a sure sign that Branwen: Dadeni has in some way been a success. It certainly lays down a marker for future work, which is as challenging as it is inspiring. At a time when investment in the arts is in danger of falling, may Branwen: Dadeni be the start and not the end of something.

Reviewed on the final night at Pontio Arts Centre in Bangor by Gareth Williams

Music, Opera & classical, Uncategorized

La Traviata – a review by Eva Marloes

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Stacey Alleaume as Violetta in La Traviata, photo by Julian Guidera

out of 5 stars (3.5 / 5)

In the past week, the documentary In Plain Sight, an investigation by Channel 4’s Dispatches and the Sunday Times, has alleged that comedian turned wellness guru Russell Brand is responsible for exploitative treatment of women, including rape and sexual assault. Just like when the #MeToo  movement emerged, many have questioned the women speaking out. Women are still exploited by powerful men and their sexuality is still policed.

La Traviata couldn’t be more topical. Verdi’s opera was shocking in depicting and taking the side of a ‘fallen woman’, what today might be an escort. Alas, the unimaginative direction, originally by Sir David McVicar, here by Sarah Crisp, makes it look preposterous and bizarre.

Violetta, a courtesan, meets Alfredo at a lavish party. She decides to leave that life and live with Alfredo supporting their life together financially. Unbeknown to Alfredo, his father asks Violetta to leave his son to protect his and his family’s reputation. 

Stacey Alleaume as Violetta and Mark S Ross as Giorgio Germont in La Traviata, photo by Julian Guidera

Violetta leaves Alfredo who feels spurned and acts his revenge by throwing money at her in public to repay her. Verdi thinks she has a dignity and should be respected.

It is none other than Alfredo’s father who defends her and condemns his own son for disrespecting her. Yet, only at the very end Alfredo learns that Violetta sacrificed their love and life together for his reputation. He comes back to see her dying. 

La Traviata could still be a powerful story if set in today’s times, just as James Macdonald’s clever production of Rigoletto did by setting it in Washington DC in the #MeToo era. 

The WNO’s traditional setting fails to convey Verdi’s intention. The choice of a very dark set design, presumably to symbolise impending doom, has a jarring effect on the opening scene whose frivolity and joviality are dampened. It weakens the unfolding of the tragedy and frustrates the solid performances of the artists. 

David Junghoon Kim shines as Alfredo, just as he did as the Duke in Rigoletto. He is at home with Verdi and gives a performance full of pathos. His beautiful tonality and powerful voice deliver longing and sorrow effectively. Stacey Alleaume as Violetta has a splendid coloratura. She’s at ease on high notes and bel canto. In the ‘croce e delizia’ duet with Alfredo in Act I, she seemed often overpowered by David Junghoon Kim when singing at a lower range. She is stronger in the second act with Mark S Ross, playing Alfredo’s father Giorgio Germont, and the final dying scene. Mark S Ross has a beautiful baritone voice. He gives an excellent performance.

The WNO’s chorus is strong as ever. The orchestra, under the baton of Alexander Joel, gives a solid, albeit uninspiring, performance.

David Junghoon Kim and Stacey Alleaume in La Traviata, photo by Julian Guidera.

Music, Opera & classical, Uncategorized

WNO’s Ainadamar – a review by Eva Marloes

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out of 5 stars (3 / 5)

Ainadamar is an homage to poet Federico Garcia Lorca, who was killed by the fascist falangists during the Spanish civil war in 1936. It is told through a series of tableaux where actress Margarita Xirgu, Lorca’s muse, reminisces with her student Nuria of the time she met Lorca, her attempt at persuading him to leave Spain, and his execution.

Ainadamar, which in Arabic means fountain of tears, is one of the early works of eclectic composer Osvaldo Golijov, who excels at weaving together folk, pop, and classical music in harmonious balance. Here, Golijov brings together flamenco’s cante jondo (deep song), electronic sounds, mournful ballads, and classical opera references. His musical complexity is refined but overly dominated by longing and anguish.

The astounding performances of Jaquelina Livieri as Xirgu, Hanna Hipp as Lorca, and Julieth Lozano Rolong as Nuria, make for intense moments of longing, hope, and loss. The imaginative light design and direction keep the audience engaged countering a too simple narrative with no emotional arc.

Hanna Hipp as Federico Garcia Lorca, photo credit Johan Persson

Ainadamar opens with Margarita Xirgu (Jacquelina Livieri) preparing to go on stage as Mariana Pineda, the 19th century liberal martyr subject of Lorca’s play. She tells her student, Nuria (Julieth Lozano Rolong) of meeting Lorca in a bar in Madrid. The scene shifts from a light-hearted rumba to a nostalgic duet. Jaquelina Livieri’s agile and rich voice make Margarita spell-binding. Mezzo-soprano Hanna Hipp, as Lorca, has power and stage-presence, yet tender in her duet with Livieri.

The memory of Havana is broken by the harsh radio broadcast of fascist Falangist Ruiz Alonso. Alfredo Tejada, as Alonso, conveys power and anguish as flamenco cantaor  counterbalancing Lorca’s flamenco cante jondo. 

Alfredo Tejada as Ruiz Alonso, photo credit Johan Persson

In another flashback, Margarita recounts her attempt at persuading Lorca to flee to Cuba. The nostalgic and dreamlike image of Havana, the route not taken, is a sensual and playful moment that gives way to grief. Lorca does not want to run away and chooses to be executed. 

The final tableau is in the diegetic present of 1969 when Margarita is dying in Uruguay recalling Pineda’s last words of freedom. She is joined by the ghost of Lorca. The scene fades out rather than reach a climax. The sense of loss and longing dominates Ainadamar from beginning to end. There is intensity but no drama. 

Photo credit Johan Persson

Musical

Review: Heathers the Musical, Wales Millennium Centre by Vicky Lord

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“September 1st, 1989. Dear Diary…”

Veronica Sawyer, Heathers the Musical

Heathers the Musical, based on the 1988 black comedy film of the same name, follows Westerberg High’s Veronica Sawyer as just another nobody dreaming of a better day. But when she joins the beautiful and impossibly cruel Heathers and her dreams of popularity may finally come true, mysterious teen rebel JD teaches her that it might kill to be a nobody, but it is murder being a somebody.

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