Dress Rehearsal of Royal Opera House: Falstaff 2015 - NOT A REVIEW

I had the privilege of attending a dress rehearsal at the Royal Opera House (ROH) of Robert Carsen’s Falstaff on Saturday [4^th July] and I wanted to share some of my thoughts on the opera I saw in the format of a dress rehearsal. This is the second time I have seen a live performance of Verdi’s final opera (the first was with Fulham Opera). Falstaff is a detour from Verdi’s usual tragedy operas, being the second comedy opera he had written. Based on the original ideas from Shakespeare’s plays, The Merry Wives of Windsor and Henry IV, Verdi catapults Falstaff into opera with money troubles, questions over ‘honour’ and his love of food, booze and women. No surprises there.

Naturally this derives from Shakespeare’s original image of the clumsy knight, which has entreated theatre audiences worldwide, yet Verdi’s opera didn’t receive the same praise. Although the opera gained positive reviews at its premiere at La Scala in Milan (1893), many Verdi fans had reservations over the music, which, they felt, didn’t resonate with what they were used to. They wanted the big, bolder arias sung by tragic characters. Yet Falstaff is a thoroughly enjoyable opera not simply because it is a comedy that is centred on a character many are familiar with, but because its librettist, Arrigo Boito put together a clever story that gets an opera audience laughing from start to finish.

This is the second time Carsen’s opera is being shown at the Royal Opera House, since 2012, and from what I saw from the dress rehearsal, Carsen’s production depicts Verdi’s opera in an intriguing way through the Scottish highlands and post WWII inspired sets. This also includes gentlemen club reading rooms and Stepford Wives’ 1950’s kitchen heaven.  These clever set designs are creations of Paul Steinberg and are so bright you may require sunglasses, but I’m not complaining. Set in a mix of contemporary clothing, most of which are fancy, velvet and highbrow, with long pleated skirts and dinner jackets, there’s not a hint of a knight’s uniform anywhere.

Ambrogio Maestri was convincing as John Falstaff with his tall stature, jolly charisma and gigantic voice. He is witty as well as silly in the way he seduces the ladies, Alice and Meg. Alasdair Elliott, Lukas Jakobski and Peter Hoare are also funny add-ons as Bardolph, Pistol and Dr Caius.

This was spruced up by Mistress Quickly, which was sung by Agnes Zweirko who couldn’t get enough of flashing her chest at the dress rehearsal audience, with her clothes on! Come on people! Kai Rüütel and Ainhoa Arteta as Meg and Alice Ford were also perky on the stage with their bright yellow and passion red ‘50s get up. Some costumes they wore, designed by Brigitte Reiffenstuel, is the kind of couture I’d like to be seen wearing at a fancy party (but I hardly get the time to go to many of those.)

Roland Wood as Fontana is also amusing, but when he sang as Ford in Act 2's È sogno o realtà, it is perhaps the closest audiences get to see opera-seria in Falstaff. Wood got a loud applause for his singing but no pity was offered to Ford for trying to cuckold Falstaff or his wife, Alice.

Anna Devin was a cutey pie as she sang as Nannetta with Luis Gomes as her secret lover, Fenton. They sing so sweetly together and the lighting powers of Carsen and Peter Van Preat only made you sicker of the heightened puppy love, only because it is extremely soppy. The entry of a special guest in Act 3, that is a horse is also added to great effect. He stands in his stable eating hay. Aww!

The Royal Opera Chorus didn’t fail to entertain either. They played a huge part in the dress rehearsal and they did exceptionally well, as did the ROH orchestra, dressed in jeans and casual tops. No judgement – it’s a rehearsal.  And I was totally impressed with conductor Michael Schønwandt who conducted without looking at the score; in fact he had his music score book closed for the most part.

Sat at the centre of the balcony were creatives with light on and paper and notes at hand. They whispered throughout the dress rehearsal while some sat behind the conductor's head who also read their notes of the score as the opera was being performed. This could have been the director Carsen and revival director Christophe Gayral, but I can’t be sure, as it was rather dark.  

The changing-of-scenes took a few seconds longer than a public showing would but because I knew that it wasn’t an real performance, I was able to detach myself from the usual things that would be a pet peeve to me if I was reviewing an actual show. Either way, there was nothing worth booing or hooting about at the rehearsal. 

I have also attended the dress rehearsal of John Copley’s last showing of his production of La bohème this year, which premiered forty years ago. (It’s still showing now!) Often dress rehearsals are offered to audiences who want to get a glimpse of a production before they are ripe and ready for an public viewing, yet there are many pluses to seeing a dress rehearsal before they are beamed to the general public. It gives paying customers the ability to see how the creatives (stage crew, directors) and, most of all, it’s cast, musicians and singers work and operate when they are rehearsing.  I’d highly recommend people become a friend of an opera house, particularly here at the Convent Garden. I've learnt a lot through the two rehearsals I went to. The relaxed environment for its performers and flexibility for its production team to tweak and amend things last moment is an interesting insight. It also makes the dress rehearsal audience feel part of something that is still in the making. 

Often the production knows that they won't be held down by the scrutiny of the media during a rehearsal so they might only work as hard as they can get away with by rehearsal standards. For this reason I haven't written anything specific about my opinion of the cast's vocal skills, acting or the production's stage direction. What I can admit is that I absolutely enjoyed Carsen's production and encourage others to see it. If the dress rehearsal I saw was anything like this evening's first night [Monday 6th July], then the production team should be proud. They must have done extremely well as they were awesome when I saw them. 

Ends on the 18th July with only four performances left - Click here for more information

Another curtain call photo #dressrehearsal #ROHFalstaff Grand sets designs by Paul Steinberg & talent #Devin #Arteta pic.twitter.com/sJDAVXn1UF

— Mary Grace Nguyen (@MaryGNguyen) July 4, 2015

Possibly the most appropriate occasion to call a production amazeballs. #ROHfalstaff Enjoyable and entertaining! pic.twitter.com/phghgW4nqi

— Mary Grace Nguyen (@MaryGNguyen) July 4, 2015

Robert Carsen #ROHFalstaff rehearsal is going exceedingly well. Compelling set designs, lavish music and superb acting.

— Mary Grace Nguyen (@MaryGNguyen) July 4, 2015

I can guarantee no booing on opening night. Only loud applauses #RohFalstaff

— Mary Grace Nguyen (@MaryGNguyen) July 4, 2015

Opera Holland Park: Aïda on LDNCARD.COM

© Robert Workman

Opera Holland Park received many smiles and applause for their recent outings of Jonathan Dove’s Flight and Puccini’s triple bill, Il trittico. Naturally, many opera-goers will have high expectations for their new production of Aïda, extravagant costumes and a showy set design of temples devoted to Egyptian gods and goddesses for Verdi’s highly dramatised opera, Aïda, but Opera Holland Park director, Daniel Slater has another idea in mind that may shatter the audience’s dreams. (Full review here. Click here..)

© Robert Workman

© Alastair Muir

Tickets selling until 24th July at Opera Holland Park. Click here for more information.

Appreciation to @CityLdnSinfonia and Maestro Manlio Benzi too #OHPAida @operahollandpk pic.twitter.com/doWlwCBGNj

— Mary Grace Nguyen (@MaryGNguyen) June 26, 2015

Bright (interesting), and kinky production of #OHPAida @operahollandpk (I might have shedded a tear.) :'( pic.twitter.com/rf15nhTEWx

— Mary Grace Nguyen (@MaryGNguyen) June 26, 2015

Nice one male chorus singers! @operahollandpk #OHPAida pic.twitter.com/sVlfo7rTnl

— Mary Grace Nguyen (@MaryGNguyen) June 26, 2015

Pleasure and Pain at the Victoria & Albert Museum (V & A)

2000 years of shoes...

"The exhibition explores the pinnacle role shoes play in several societies, not just the fashion world. Yet Pleasure and Pain is by no means perfect and spectators may feel disappointed." Click here to read full review.

Unfinished... Works at the Courtauld Gallery

19th century poet Christina Rossetti once wrote, “Can anything be sadder than work left unfinished? Yes, work never begun”. In a similar vein, the Courtauld Gallery has curated a special exhibition dedicated to art from its permanent collection that was considered unfinished, from Renaissance to early 20th century. Unfinished…Works ... Click here to read more on LDNCARD blogs.

Almeida Theatre: Oresteia by Robert Icke ⭐⭐⭐⭐⭐

Theatre lovers will know Robert Icke for directing the pathological whirlpool, 1984 with Headlongt heatre-company. The production has gone from strength to strength and returns to the West End this week. As part of the Almeida’s summer season – devoted to classical Greek theatre – Icke has righteously kicked it off with his new, cool and jaw dropping production of Aeschylus’s 2,500-year-old play, Oresteia. It’s a supremely important canon of Greek drama and arguably the life-blood of theatre.

Icke translates Aeschylus’s text for a contemporary setting that is highly relatable, minus the kinship blood bath. (Those new to Greek tragedy are welcome). Aeschylus’s emblematic narrative highlights family sacrifice, Greek deities, death and morality and although there’s much talk of the supernatural Icke’s production is entirely modern and doesn't try too hard with theatrical tactics.

The subject matter is barbaric: father kills daughter; mother kills father; then, son kills mother. There’s shocking scenes of violence, seeping blood and raging arguments, which is mellowed with crafty moments of silence, which go part and parcel with Icke’s Greek tragedy. The trilogy lasts, just under, 4 hours and although this might sound long it is cleverly timed and fails to bore the audience.

Stage director, Hildegard Bechtler utilises a table and large glass panels, with subtle modes of technology (e.g. digital clock). The rest, of the imagination, is left in the hands of its outstanding cast who play characters with their own depth of fascination.

Angus Wright as Agamemnon is a ballsy, authoritative leader but shows pithy signs of fatherly fragility and warfare indecision when left with no choice but to appease the gods and drug induce his daughter. Wright presents a harrowing scene as a TV cameraman zooms into Iphigenia’s face, played by little Clara Read, and the blood absorbs the poison and she slowly closes her eyes.

Downtown Abbey’s young beaut, Jessica Brown Findlay, is the anxious, angry and disturbed daughter, Electra who moans the death of her father and makes a moving and empowering statement on stage. And Luke Thompson as the ‘snake’ born from his mother’s womb, Orestes gives a fine performance of a deeply distressed and psychopathic son.

Lia Williams, as Klytemnestra, however steals the spotlight and acts as a focal point of the tragedies that befalls her house. We see her as a mother, wife, queen, supporter of her husband’s political battles and a monstrous betrayer. She appears seamless in the role, as if Klytemnestra was written for her.  What’s more interesting is how intelligent and tremendously irresistible Icke’s adaptation is even though the stage is prosaic. Icke’s serious overtones, poetic imagery with Greek drama qualities is inventive and authentic and makes for an exciting and thought provoking show. Although the last segment, where the Athenian jury judge Orestes for his barbarous crime, is slightly off from the rest of the play, it’s a tense and interactive scene. The audience can decide whether or no Orestes is guilty.

Icke manages to get the audience to put their thinking caps on. Do we look at Greek tragedy as a form of theatre that should be left as it is or a genre that can be moulded into another contextual environment? Almeida’s other two Greek season "modern" productions, Bakkhai and Medea of Euripides, may help assemble our answer. 

Complimentary ticket not provided. Pictures courtesy of Guardian and Almeida Theatre. Theatres for Oresteia is available until July 18th. Click here to purchase tickets and more information. Running time 3 hrs 40 with 2 intervals. 

Lia Williams as Klytemnestra in @AlmeidaTheatre is dynamite. Robert Icke’s tense interpretation of Aeschylus' greek tragedy is worth seeing

— Mary Grace Nguyen (@MaryGNguyen) June 13, 2015

Oresteia @AlmeidaTheatre is as outstanding as theatre critics say. Anyone who has seen Strauss' opera, Elecktra should go and see it.

— Mary Grace Nguyen (@MaryGNguyen) June 13, 2015

I'm here for the Greek season! @AlmeidaTheatre #Oresteia .Three stories in one! Aeschylus' greatest and final play. pic.twitter.com/hLUhSJ7Mtd

— Mary Grace Nguyen (@MaryGNguyen) June 10, 2015

Sitting by Downton Abbey’s Jessica Brown Findlay who plays Electra in @AlmeidaTheatre #Oresteia.She's stunning in person as she is onscreen

— Mary Grace Nguyen (@MaryGNguyen) June 10, 2015

The Royal Ballet: Woolf Works ⭐⭐⭐⭐⭐

Woolf Works, a brand new production conceived out of the works of 20^th century novelist Virginia Woolf, received an outstanding roar of applause and standing ovations at its premier last night. The Royal Ballet’s own resident contemporary choreographer, Wayne McGregor was inspired to fulfil Woolf’s dream of combining her stylistic prose which defied the writing rules of her era with the transformative and emotional powers of dance. McGregor worked tirelessly with Uzma Hameed as the production’s dramaturg to unravel ‘the luminosity, sonorousness and poignancy of [Woolf’s] world.’

With an array of the best principal dancers from the Royal Ballet including Natalia Osipova, Federico Bonelli, Edward Watson and former ballet principal Alessandra Ferri (now aged 52, can you believe?), Woolf Works brings together the flair and multiple perspectives of the author’s non-linear writing through three of her best loved novels – Mrs Dalloway, Orlando and The Waves.

Acclaimed British composer Max Richter, who previously collaborated with McGregor on his other ballets, including Infra and Kairos, revealed the delicate tinges of Woolf’s moving works through simple melodies, orchestral influences from minimalist composers, such as Philip Glass and Steve Reich, with structured fusion of electronic and industrial music. Taking turns with Richter’s pre-recording sonic music was the Royal Opera House’s orchestra who were conducted by Koen Kessels with craft and subtlety; as of the start of the 2015/16 season he shall be the new Royal Ballet's music director.

I Now, I Then covers the tale of Mrs Dalloway, which is delicately handled by Ferri. Ciguë and We not I, the stage designers for the entire triptych, have large human-size photo frames rotating for the principals to dance around and stand inside with projections of London and the countryside from Clarrisa’s past. As the frames rotate, one by one the characters flow in just as they had entered Clarrisa’s life in the book. Her puzzling choice of lovers from Sally Seton, which is captured in a kiss shared with British rising star Francesca Hayward, to her first meeting with her husband, Richard Dalloway danced by Bonelli who enraptures her in his arms. The heart-felt trauma characterised in WWI sufferer Septimus Warren Smith is set on fire by the soaring jumps and intensely courageous performances by Edward Watson. Here, the audience get the most out of the Royal Opera House’s orchestra through gripping strings that are tied down to the rhythms of a ticking clock.  

Orlando is a renowned satirical feminist classic, which is shown through the piece Becomings. Male principal dancers are dressed in Moritz Junge's tutus and metallic costumes’ cut from the Elizabethan period. The stage is bare but the dancers have Lucy Carter’s beaming strobe and laser lights shinning above them that turn the Royal Opera House into a nightclub scene, however, Richter’s electronic music is more subversive, slow and reflective of Woolf’s emotive piece. A mesmerizing sight is also shown through a seductive pas de deux that looked as if it had been dragged out of an Alexander McQueen fashion show.

Orlando is a tale about a nobleman who wakes up to find that he has changed into a woman. To abstractly depict this Osipova provides a dazzling solo that grows into eclectic group choreographies with Akane Takada, Melissa Hamilton and Sarah Lamb providing androgynous vibrancy with Steven McRae, Tristan Dyer, Eric Underwood, Matthew Ball, Gary Avis and Watson presenting feminine foot steps and gestures to relive the attributes of the metamorphosed nobleman. The climactic finale is also a thrill with all the dancers assembled into three separate circles and Richter’s score sky rocketing.

The last piece is the shape-shifting Tuesday from the book The Waves that commences with a letter by Woolf read by actress Gillian Anderson. With a video clip of the sea and its waves, audiences watch as children revive our memories of youth as the dancers intertwine and lock together conveying the rich diversity of life. It ends with Ferri supported tenderly by Bonelli who carries her until she lies on the ground signifying the end.

Three carefully created pieces pull together Woolf’s inner consciousness and convey them in dissimilar ways through Richter’s immersive score and McGregor’s daring contemporary style. This is a sensational piece of modern dance that shouldn’t be missed. Don’t waste a moment. Go grab a ticket while you can. 

Photos courtesy of @The Stage. Production ends on May 26th. Click here for more details.

#ROHwoolf Ooh, this one for luck. 5-star performance.Don't waste a moment.Go get a ticket before it ends.Sensational! pic.twitter.com/CAxKpY5vup

— Mary Grace Nguyen (@MaryGNguyen) May 11, 2015

Curtain call #ROHwoolf Principal dancers,creative team,ROH orchestra @WayneMcGregor &even Woolf deserve the applause pic.twitter.com/ARKhnH0Ti9

— Mary Grace Nguyen (@MaryGNguyen) May 11, 2015

#ROHwoolf BECOMINGS from Virginia Wolf's Orlando was hands down sensational. From costumes, group choreographies, piano solo & laser beams.

— Mary Grace Nguyen (@MaryGNguyen) May 11, 2015

Edward Watson as Septimus in I Now, I Then was quite emotional. Soaring jumps and gracious footwork. I might have wept a tear #ROHwoolf

— Mary Grace Nguyen (@MaryGNguyen) May 11, 2015

ROH: Król Roger ★★★★

A new production of Szymanowski’s mystical opera led by powerful singing, creative staging and firm conducting


With fighting austerity and cutting costs across The Royal Opera House, director of opera Kasper Holten recently announced a ‘risk taking’ 2015/16 programme filled with classic and novel operas. This week is no exception as he introduces a new, ambitious yet exquisite production of 20th century Polish composer Karol Szymanowski’s opera, Król Roger, which captures the mysticism and moral questioning that burdens its protagonist, King Roger. 

Written during the turbulent Russian revolution and honed with Mediterranean, Oriental and Byzantine church music, Szymanowski’s opulent masterpiece grapples with deep-rooted concepts through a troubled Christian king and the turn of events that ensue when he encounters a preacher who worships a hedonistic faith.


Steffen Aarfing’s set design of the king’s towering head and Luke Halls’ cosmic video imagery takes shape from an ominous and pitch-black start, which is passionately evoked through soaring conducting by Antonio Pappano. In Act II, the monolithic head becomes the interior of the king’s temple and the macrocosm of his guilt-stricken mind, shown through nude, erotic dancers. 

The production revels in a high quality cast. Mariusz Kwiecień comes on top as baritone singer, revealing the nuances of the king’s complex character. As Roxanna, Georgia Jarman’s hypnotic voice is intensely moving. And Saimir Pirgu adds charisma to the role of the heretic Shepherd, yet sings with a silvery voice.

Royal Opera House, London

May 1-19, PN May 1

Composer: Karol Szymanowski

Conductor: Antonio Pappano

(Librettists: Karol Szymanowski, Jarosław Iwaszkiewicz)

Director: Kasper Holten

Design: Steffen Aarfing (set design), Jon Clark (lighting design), Luke Halls

(video design), Cathy Marston (choreography), John Lloyd Davies

(dramaturg)

Technical: Chris Harding-Roberts (production manager), Lorna Robinson

(costume supervisor), Emma Turner, Adam Lawley, Jessica Stanton, Aisling

Fitzgerald (stage management)

Cast: Alan Ewing, Agnes Zwierko, Mariusz Kwiecień, Kim Begley, Georgia

Jarman, Saimir Pirgu

I'M HERE!! Aiii yaah! #ROHroger So excited to be here @RoyalOperaHouse 's premier. #Polishopera #Szymamowski pic.twitter.com/UM16fR0Zhc

— Mary Grace Nguyen (@MaryGNguyen) May 1, 2015

The man of the hour #MariuszKwiecień . Sick and unwell he sang like a King #ROHroger pic.twitter.com/1yhjDIKpvh

— Mary Grace Nguyen (@MaryGNguyen) May 1, 2015

Hail to thee @ROHchorus and nude 'contemporary' dancers. #ROHroger Atmospheric! You name it! pic.twitter.com/3zDtVXKOnz

— Mary Grace Nguyen (@MaryGNguyen) May 1, 2015

Georgia Jarman humbly taking a bow at the premiere night.Bold, strong & alluring in stage presence & voice #ROHroger pic.twitter.com/KPfiyDvxAV

— Mary Grace Nguyen (@MaryGNguyen) May 2, 2015

Ewing, Jarman, Betley,Kwiecień& @saimirpirgu gave a memorable performance.Kudos to @kasperholten 's vision #ROHroger pic.twitter.com/wN77ygScNF

— Mary Grace Nguyen (@MaryGNguyen) May 2, 2015