ROH: The Rise and Fall of Mahagonny ★★★★

For most operas, and contrary to popular belief, audiences are not required to read a synopsis or any literature about the creative process of the work, however, for The Rise and Fall of Mahagonny (Aufstieg und Fall der Stadt Mahagonny in German), a little bit of reading wouldn’t hurt.

The opera’s creators, the poet and librettist Bertolt Brecht, and composer Kurt Weill, collaborated during the 1930s after World War I and the collapse of the Weimar Republic. At the time, German and Austrian composers were reinventing opera having developed Zeitoper (opera in the time in German) in the 1920s, which mixed together music genres: jazz, contemporary, and cabaret, with political satire. 

Based on an opera of ‘juxtapositions’, from music to text, The Rise and Fall of Mahagonny follows the lives of criminals searching for an escape who end up in the city of Mahagonny, which breeds cash, greed, capitalism and sex. Given the opera’s unusual nature, audiences will wonder whether a production has captured the ironies and quizzical devices that Brecht and Weill implemented in the 1930s.

Last night was the opening night for the first, ever, production of The Rise and Fall of Mahagonny at the Royal Opera House. Under the direction of John Fulljames it successfully captured the complexity of the opera as delivered in the 1930s. Fulljames’ production has updated the opera to 2015 with high-tech digital trends and props, which Brecht and Weill would have, only, dreamt of. 

There are various themes (too many to mention here) that are purposefully embedded by Brecht and Weill, but Fulljames has introduced a production that allows the audience to freely figure out the complicated metaphors and allegories in an uncomplicated manner. One of these devices are the songs. Although originally written in German, there are easily memorable, and tongue-in-cheek, songs written and sung in English including the ‘Benares Song’ and the well-known ‘Alabama Song’, which has been covered by multiple artists from David Bowie to music band The Doors. 

To keep the opera fresh Fulljames has instilled a cross-pollination of digital traditions. Finn Ross’ video designs are layered on top of one another, which include an image of a hurricane, an animated weather map, footage of civilians in the middle of a hurricane and even a title screen that reads ‘Mahagonny’. This is neatly bundled up with audio recordings of inscriptions set between each scene and live broadcast footage of the singers on stage, and some members of the audience. (You’ve been warned!)

This appropriately merges in with Es Devlin’s fascinating set designs, one of the best stage designs I’ve seen at the Royal Opera House, with a versatile lorry that opens up into many things like a magician’s bag. It can be a gruelling office, a prostitutes' hub, or a bar with jazz pianist, Robert Clarke, playing away with large white palm trees sat right next to him. The use of huge colourful shipments boxes is also an industrial cabinet of curiosity that stores more than human traffic and whiskey decanters combined.

The chorus singers were enthusiastic and on excellent form on stage. They were most remarkable at the end of the opera to the song, ‘To This Day Found In Mahagonny’, which sounded almost like a quasi-sermon song. Mark Wigglesworth conducted the ROH orchestra and although, the music was full of quality, pace and energy, I felt there was a lack of volume for some songs that needed an extra punch such as the first run of the ‘Alabama song’. I also got a sense that some musicians were more confident than others given that the opera was being played here for the first time.

Yet confidence wasn’t a problem for our eclectic cast. Annie Sofie von Otter, as Begbick, was a joy to watch, but vocally she was all over the place. She started off on strong form yet by Act 2 her voice wasn't as consistent. There was confusion as to whether her accent was English or American as well. Willard W. White, as Moses, was simply authentic. He brought his vintage, signature bass-baritone voice that was a thrill to hear. And Peter Hoard was also a great act on stage but for the role of Fatty there wasn’t a good enough aria to show off his vocal talent. 

(Photo: From the Times)

But it was Kurt Streit’s Jimmy and Christine Rice’s Jenny that got the audiences' attention. Streit sang as a rebel who broke all the rules, when it wasn’t permitted, and he didn’t hold back. Streit's character was possibly the only character that showed raw emotion and he sung as if he was at the a picket line over brassy jazz and ragtime melodies. Rice, however, controlled her voice to model the mind frame and stoic mannerisms of Jenny who acknowledged her profession as a prostitute and desire for nothing but hard cash. Her pure silky voice was present but Rice managed to embrace and fine tune her vocals to remind the audience that Jenny was a prostitute who only cared about money.

Operas like this one, with sophisticated concepts, unorthodox narrative, huge set designs and a combination of artistic genres, are few and far between. The Rise and Fall of Mahagonny is a bizarre opera. At times it can be morose, realistic and too close to home, particularly with topics about the economy and society as a whole but audiences are bound to ask themselves a few thought provoking questions whilst being entertained by a pig playing an accordion. 

The opera is showing until the 4th of April. Click here for more information. 

Photographs courtesy of the Royal Opera House.

Curtain call!One of the best set designs &technical craft I've seen @RoyalOperaHouse Congrats ESDevlin #ROHmahagonny pic.twitter.com/t2OSNl4XwA
— Mary Grace Nguyen (@MaryGNguyen) March 10, 2015

The creative team got a bit of boos tonight but that's expected if ppl can't embrace the splendor of the now: digital art. #ROHmahagonny
— Mary Grace Nguyen (@MaryGNguyen) March 10, 2015

An upbeat & zesty score. Eclectic cast, spring board of talent including the ROH chorus. Loved the fascinating stage designs #Rohmahagonny
— Mary Grace Nguyen (@MaryGNguyen) March 10, 2015

An usual opera. Although heavily morose and,at times, realistic, I found it a musically creative piece #ROHmahagonny pic.twitter.com/KD6hzRLiNN
— Mary Grace Nguyen (@MaryGNguyen) March 10, 2015

Dear @RoyalOperaHouse ,you've created dashing t-shirts for #ROHmahagonny Where can we buy them? A lot of us want them pic.twitter.com/pnBeILJxOp
— Mary Grace Nguyen (@MaryGNguyen) March 10, 2015

Good thing about standing at #ROHMahagonny is that I am 'permitted' to tap my feet quietly and wiggle away to the 'Alabama song.' #humming
— Mary Grace Nguyen (@MaryGNguyen) March 10, 2015

Totally forgot that I bought standing ticket for the opening night.Good thing I'm wearing comfy shoes. #ROHmahagonny pic.twitter.com/efA3SLiSvP
— Mary Grace Nguyen (@MaryGNguyen) March 10, 2015

McDermott's Cosi Fan Tutte at the ENO - A spectacle of candyfloss ****

Phelim McDermott’s production of ‘Cosi fan tutte’ at the English National Opera (ENO) is an outstanding display of eclectic and vibrantly coloured set designs. Tom Pye’s scenery evokes a 1950’s fun fair similar to Coney Island which include all the circus trimmings from a neon ferris wheel, cotton candy, tea cup rides and strange circus folk named the ‘skills-ensemble’ of contortionists, fire eaters, dwarfs and, even, a quiet giant. This glitzy extravaganza mimics a scene out of a Baz Lurhmann movie, which adds a fun and comedic edge to Mozart’s ingenious musical score despite its misogyny and ironic story line.

"Fiancée swapping" was a 13^th century practice which has influenced great literature like Shakespeare’s ‘Taming of the Shrew’, Mozart and his librettist Da Ponte's ‘Cosi fan tutte,’ which at its premier (1790), was considered a derogatory piece, Now, 300 years ahead, the severity of the, then, sordid plot has trivialized and much exploration has gone into what musicologists have claimed is Mozart’s best work. But, alas, this can’t be said for McDermott’s production despite its visual entertainment and theatrical brilliance - there just wasn’t enough opera oomph, in my opinion.

At times, there were intriguing tricks taking place in the background but this left the audience torn between watching this and the actual opera; sword swallowing, balancing acts and other impressive talent couldn’t be applauded because Fiordiligi (Kate Valentine) and Dora Bella (Christine Rice) were singing and rightly so – ‘Cosi fan tutte’ is an opera after all. This was coupled with various large fun fair props including love swans, all crafted by Joby Carter, being wheeled in and out of the stage which, although stylish and pretty were frustratingly distracting.

On the contrary, Soave sia il vento, sung by Valentine, Rice and Roderick Williams was performed with tenderness and devotion; it is, I believe, the peak of the entire performance and for Williams, it is possibly, his highlight as there wasn’t any sign of a wise philosopher in his version of Don Alfonso, but a troubled carnival barker. He discusses the wager like a businessman as oppose to proving a philosophical point about women. However, Mary Ward as Despina managed to deliver with multiple roles as a cynical chambermaid, mad German doctor and baffling, yet hilarious rodeo marriage lawyer. She retained the presence she had as cheeky Papagena in Simon McBurney’s production of ‘The Magic flute’.

Randal Bills as Guglielmo was a good enough tenor and Valentine did her best to contain what she could for such a difficult role as Fiordiligi - the over-thinking sister. Yet, it was Rice who kept it together, not only for her improvisations of a keen and mischievous Dora Bella, but sustaining vocal vigour throughout.

Ryan Wigglesworth conducted a sturdy orchestra but at times, the music and voices wasn’t audible. Some surtitles were absent and, in some moments, they took a life of their own as translated by Jeremy Sams. McDermott is, indeed, entitled to chop and choose words as he sees fit yet the only problem is some meaningful comedic value goes missing which is needed for such a disturbing, dramatic and fast-moving opera.

Sadly, there wasn't any room for analysing the women’s infidelity or the dynamics of the character’s relationships. McDermott has produced a great spectacle of fun and games, but the production lacks depth and a certain ‘wow’ factor. A lot can be learnt from such an interesting opera as ‘Cosi fan tutte’ but by Act 2 the only thing one craves is candyfloss.