The Welsh National Opera proved their world class status this week with two very different works: Benjamin Britten’s Death in Venice and Mozart’s Cosi Fan Tutte – both equally bewitching.
‘WNO take a bow for treating Oxford’s enthusiastic audiences to two top drawer productions: a feast for the eyes and ears’
However, they both have one thing in common – an acknowledgement that there’s nothing straightforward about love – each relevant, in different ways, in demonstrating the twisted machinations of the heart.
First up, Death in Venice, Britten’s opera about a middle aged German male writer feeding his parched creativity from his unlawful fantasy about a beautiful boy.
‘the music was crystal clear, constantly inventive and beautifully played and conducted’
The subject-matter, along with the dissonant music, might seem off-putting, but the staging of the fantasies as circus acrobatics was inspired and awe-inspiring – the singing/acting of Mark le Brocq ( the writer), Roderick Williams (his bad conscience) and the acrobatics of Antony Cesar (the boy) were especially wonderful. The jaded writer (Aschenbach) was on stage all night and sang nearly everything, beautifully!
As for the music; it was crystal clear, constantly inventive and beautifully played and conducted. The evening was a deserved sellout….I was transfixed, and I’m not even a Britten fan! Hats off too to the director, Olivia Fuchs and circus designer/director Firenze Guidi.
‘Cosi Fan Tutte offered a fabulous performance of wit and passioN’
Cosi Fan Tutte, on the other hand, is my favourite opera, and the WNO did not disappoint with a fabulous performance of wit and passion.
Don Alfonso – spectacularly sung by Jose Fardilha – manipulates the sincere, if naive, love of two couples for his own amusement, enriching Despina (heavenly singing from Rebecca Evans), but causing both folly and genuine distress.
‘the 70s-inspired sets were more School of Rock than School of 18th Century, and worked really well’
Sophie Bevan, as Fiodiligi, is heartbreaking in her emotional turmoil, because as we know, there’s no happy-ever-after for anyone in Mozart’s heart-breaking opera.
The score was sublime and upliftingly played, while a special mention must go to the 70s-inspired sets which were more School of Rock than School of 18th Century, and worked really well.
WNO take a bow for treating Oxford’s enthusiastic audiences to two top drawer productions: a feast for the eyes and ears.
Richard Bailey
WNO is on tour until May. Book here https://wno.org.uk
