The Best Operas of 2014

By Mary Grace Nguyen

2014 has opened the doors for the opera world. Many things have happened this year with opera houses, opera companies and its singers. There was the wave of new productions, new operas and revived ones. When it was announced that the Arts Council (ACE) would be cutting their funding for the ENO all eyes turned on them – what was happening to the nation’s opera house?

Fringe festivals and community productions were also sprouting around the UK and attempting to make their stance on the debate on opera elitism whilst live screenings (and cinemas) were also playing a role in eliminating the stigma that opera was only suited for the affluent and older audiences. And let's not forget the contentious dispute surrounding 'dumpygate' and arguments about the validity of booing in the auditorium.

It was also a good year for tenor Jonas Kaufmann’s career; he received much media attention for his demand in prestigious concert halls and many international opera houses; yet his personal life, illnesses and countless cancellations was cause for concern (one which we won’t discuss here).

Having re-evaluated my list of operas this year (which is ballpark 60), I’ve had to think long and hard about the operas which moved me, educated me and presented the best combination of sound and voice for composer’s work. NOTE: I haven’t listed all operas I’ve seen this year simply because it’s a long list. I’ve nominated a selection of the top operas here.

Best Opera of the Year – Girl of the Golden West (ENO) Review here

Best Cast – Manon Lescaut (Royal Opera House) Review here

Best Cinema Screening - Macbeth (Met Opera)

Best Small-scale production – Werther (Grimeborn Festival) Review here

Best Experimental – Glare (Royal Opera House) Review here

Most Controversial – Anna Nicole (Royal Opera House) Review here

Best Semi-stage – Salome (BBC Proms) Review here

International – Die schweigsame Frau (Bayerische Staatsoper) Review here

Most Entertaining – Benvenuto Cellini  (English National Opera) Review here

Most Moving – Tristan und Isolde (Royal Opera House) Review here

Best Baroque Opera – Orpheus and Eurydice (Rose Playhouse Theatre) Review here

Worst Opera – Xerxes (ENO) Review here.

Best Opera of the Year – Girl of the Golden West (ENO)

ENO pushed it up a notch with its strong cast, including chorus and Susan Bullock, and an equally entertaining stage vibrantly conducted by Keri-Lynn Wilson. Puccini’s champion Western Opera deserves the first prize for opera of the year and its thanks to the ENO for executing the romance and pizazz. Must have been all that American liquor! Review here. 

Best Cast – Manon Lescaut (Royal Opera House)

Kristine Opolais as Manon, Jonas Kaufmann as Des Grieux, Christopher Maltman as Manon’s brother and Maurizio Muraro as Geronte... need I say more? It was a great combination of artistry and vocality on a somewhat awkward stage, as viewed by some who booed on its premiere night. Forget about Jonathan Kent’s production for a second and imagine what it would have sounded like on a semi-staged performance with Pappano– sublime! Review here

Best Cinema Screening - Macbeth (Metropolitan Opera)

Viewing an opera screening is one solution to seeing operas based abroad or productions that sell out. Cameras focus in on singers, their facial expressions and pan along the stage which give audiences a glimpse of the detail. Anna Netrebko and Željko Lucicas as Macbeth were an excellent match for Verdi's opera, and equally on screen, and the Met’s staging brought out the colour and mysticism of Shakespearean’s sinister drama. Note: If you’re going to see an opera on screen make sure it is big!

Best Small-scale production –Werther (Grimeborn)

A piano, the language of love, the tragedy of unrequited love, Adam Tunnicliffe as Werther, and Katie Bray as Charlotte brought all the magic and flood of tears to the Arcola theatre. It was the best thing I have seen at Grimborn Festival this year. Review here

Best Experimental – Glare (Royal Opera House)

This edgy opera by contemporary music composer Soren Nils Eichberg with CHROMA and direction from Strassberger is an eye-opener. It broke barriers, challenged norms and tried to grapple with Sci-Fi questions about ‘being’ which was nicely mashed up with high-definition electro music. One of my favourites from the Royal Opera House. Review here 

Most Controversial – Anna Nicole (Royal Opera House)

I don’t want to give Martin Kusej any credit for Idomeneo (not even for the worst opera of 2014) yet Anna Nicole gave students, new and current operagoers something to talk about. Although a revived production the staging looked new - the opera went full throttle from over the top, trashy yet glamourous at the same time. Anna sung by Westbroek had all the acting appeal and didn't disappoint audiences yet the question still needs to be answered - does it deserve to be performed in  the Royal Opera House and not anywhere else? i.e. West End. Review here 

Best Semi-stage – Salome (BBC Proms)

I remember the chills on my back from Strauss’ music which was dynamically conducted by Donald Runnicles with the Deutsche Oper Berlin orchestra. It included a tight cast with Doris Soffel, Burkhard Ulrich and tenacious Nina Stemme as our menacing sadist. It was a sold out event and no one left dissatisfied.  Review here

International – Die schweigsame Frau (Bayerische Staatsoper)

It was my first time at the Bayerische. Die schweigsame Frau is regarded as one of Strauss’ obscure operas and without English surtitles I managed to get the gist of the underlying message from Stefan Zweig.  The hilarious list of characters, multiplicity of diverse costumes and creative staging ticked my boxes. Review here

Most Entertaining – Benvenuto Cellini (English National Opera) 

Terry Gilliam has the upper hand: he is a film director after all. The Fear and Loathing in Las Vegas director has an eye for entertaining. Berlioz’s opera isn’t the most intriguing yet Gilliam got a parade going, had the punters gagging for more and turned the ENO auditorium into a party. Review here

Most Moving – Tristan und Isolde (Royal Opera House)

First came stage theatre, then technology with its acoustic speakers and visual projections. Now we have 3D imagery in cinemas, which is how I experienced Tristan und Isolde. It was the next level to opera – a sensory overload of emotions. Loy’s staging allowed Wagner's libretto, the ROH orchestra, Pappano, Gould, Connolly and more importantly Stemme to take centre stage for the audience and get a peek of Wagner's secret love for his muse Mathilda. Review here 

Best Baroque Opera – Orpheus and Eurydice (Rose Playhouse Theatre)

How best to depict Orpheus entering the underworld but in a cave. Luckily for director Pamela Schermaan she found her haven in the Rose Playhouse Theatre and took advantage of the dark excavation area. Sorrowful voices projected from the edges of this cavity with a humble quartet to heighten the romance of Gluck's much loved opera. Review here. 

Worst Opera- Xerxes (ENO)

Opening aria by Alice Coote welcomed the opera on a high which unfortunately went downhill thereafter. I wonder how I managed to endure the agony. The staging was static and even though Handel’s music was happening, the ENO stage just wasn't. Xerxes could have been more interesting but it seems that this production failed to find the solution. Review here.

List of operas I saw this year and I had to make some tough decisions.

Best Theatre 2014 (Trend Fem Awards)

It’s been an exciting year for theatre in the capital and, sadly, I only got to see 45, out of possible hundreds of fringe and large scale West End, shows. I have taken the time to look over my list of theatre, which I reviewed this year, and am delighted to confirm my review of the Best Theatre - the Trend Fem 2014 Awards - of the most memorable theatre of the year.

NOTE: I haven’t listed all the shows I’ve seen this year simply because it’s a long list. I’ve nominated a selection of the top shows for Trend Fem.

Best Musical Awards 2014: Dogfight - Review here

Best Shakespeare Award 2014: King Lear, National Theatre-Review here

Best Fringe Theatre Award 2014: Chicken Shop - Review here

Best West End Award 2014: Handbagged - Review here

Best Comedy Award 2014: The Play That Goes Wrong - Review here

Best Experimental Theatre 2014: How A Man crumbled - Review here

Best Script 2014: A Streetcar Named Desire - Review here

Best Show 2014: Orpheus - Review here

Best Theatre 2014: Rose Playhouse

Best Beautiful Theatre 2014: 'Tis Pity She's A Whore - Review here

1) Best Musical

Nominations:  Made in Dagenham, Miss Saigon, Memphis, Dogfight, Avenue Q, Sweeney Todd, Lion King 

Dogfight[Southwark Playhouse]

It was ridiculed for its wartime misogyny but I was too engrossed by its talented cast members, the dance choreography and, foremost, the best sing-along-songs to give a damn - I should have got the sound track! The Southwark Playhouse isn’t the largest of theatres, but it was suitably sized for this cosy experience full of emotions, laughs, physical excitement and memorable melodies.

2) Best Shakespeare

Nominations: Richard III (Rose Theatre), Henry IV (RSC), Two Gentlemen of Verona (RSC), King Lear (National Theatre), The Merchant of Venice (Almeida Theatre), Othello (Leicester Square Theatre), Lear (Union Theatre), Richard III (Greenwich theatre), Comedy of Errors (Globe), Julius Caesar (Globe) Othello (Riverside Studios)

King Lear, National Theatre:

It was incredibly tough to make a decision especially having watched so many of Shakespeare’s best works from top theatres - large and small-scale. They were all equally valuable and deserve the same creative credit. Some productions were made up of a few skilled cast members; some had master 14 roles, whilst others tried to catapult Shakespeare’s work to the 21^st century with audacious eclecticism and kitschy staging, which is also prize-worthy. But the Best Shakespeare Award goes to King Lear at the National Theatre even if everything wasn't perfect, in my opinion. Lear is one of my top, but not favourite, Shakespeare plays, in general, but the clever direction and precision acting made this psycho-thrilling drama one that stuck in my head.

3) Best Fringe Theatre

Nominations Notes from Underground (Print Room), Ring Cycle (Scoop), Chicken Shop (Playhouse Theatre) Cinderella and the Beanstalk (SleepingTrees), Massacre of Paris (Rose Playhouse Theatre) Autobahn (Savio(u)r)

Chicken Shop

My editor emailed me saying that he needed someone urgently to review a show called Chicken Shop and, without much research into this bizarre title, I decided to give it some attention. It was a quiet Saturday afternoon and to my surprise, after the show, I came out a different person – I was shocked to see that there were only a handful of people with me in the audience. It was an absorbing and emotionally crushing play with a plethora of disturbed characters with secrets and peculiar struggles. The script was exceedingly gritty but never away from the truth. The suspense took audiences through corners and roads they would not have expected. I just hope that they show this play again, soon.

4) Best West End

Nominations: Memphis, Made in Dagenham, Forbidden Broadway, Let The Right One In, King Lear, 1984, The Play That Goes Wrong, Handbagged, Lion King

Handbagged

When a fringe show manages to get the OK from major West End theatres to transfer, it is a blessing in theatreland; Handbagged deserved to be one of those productions as Jeff Rawles told me in an interview. I still have fond memories of the press night: being surrounded by celebrities, television personalities and tabloid critics. The show itself had us giggling, all night, until we wanted to throw up. It’s such an innovative idea; to showcase a satire of Thatcher and Queen Elizabeth reflecting on history via afternoon tea with a thrilling cast to add the icing on the cake (and scones.)

5) Best Comedy Theatre

Nominations: Cinderella and the Beanstalk, The Play That Goes Wrong, Handbagged, Forbidden Broadway, Avenue Q, Shakespeare in Love,

The Play That Goes Wrong

It was said to be similar to Noises Off (which I haven’t seen). It has all the slapstick comedy and euphemisms you wouldn’t expect from a serious play. Guaranteed to make audiences jolly with all the nooks and crannies of TV programmes Monty Python and Blackadder. You don’t have to like these shows to enjoy this comedy play - anyone can laugh at this shambolic display. As mentioned in my review, it’s like watching a very bad school play but on a bigger stage done professionally. At the interval the fun and games don’t stop – the director runs after cast members who queue up for ice cream!

6) Best Experimental Theatre

Nominations: Marion Deprez, How A Man Crumbled, Briefs: The second coming, The Merchant of Venice Best Show of the Year

How A Man Crumbled

I don’t like clowns but I wasn’t sure what physical theatre was. I wasn’t familiar with the Mimetic Festival either, which was tucked behind Waterloo station. How A Man Crumbled is one of those turn-your-head-to-the-side shows to understand it. I scratched my head and thought ‘what the f*** is going on?’ but the incredible things Clout Theatre were doing in this warehouse space were visually addictive. It was somehow sophisticated - perhaps for a particular market. It was weird, zany, provoking and disgusting, but my mind was challenged. Who wants to see boring theatre all the time any way?

7) Best Script

Nominations: Notes on Underground, Massacre of Paris, Three Sisters, Chicken Shop, A Streetcar named Desire, 'Tis Pity She’s a Whore, Accolade

A Streetcar Named Desire

The Young Vic sold out very early on from the beginning of the production. I was lucky enough to get a cinema ticket to see the encore before the production ended and I’m glad that I managed to see it. Gillian Anderson was amazing – of course! – and the dialogue was eye-piercing, which left a memorable impressions in my mind. Those Southern bell accents, the complexity of human nature and its sexual relationships. Although a long play, every second was moving. The marvellous cast looked emotionally exhausted by the end of it. I salute, with an imaginary glass of bubbly, to them and the production team for introducing an interesting update of Tennessee Williams' breath taking work.  

8)Best Show of the Year

Nominations: Dogfight, Notes from Underground, Henry IV, Accolade, 'Tis Pity She’s a Whore, The Play That Goes Wrong, A Street Car named Desire, Orpheus, King Lear, Chicken Shop

Orpheus

I received an email with a beautiful drawing of a production called Orpheus and having just reviewed the opera (Orfeo and Eurydice) I was curious to see what the Battersea Arts Centre had install. To my delight, it was more than I could ask for (in a good way). It was a cross-fertilisation of genres: cabaret, classical music, opera, acting, jazz and Shakespearean staging plucked out of A Midsummer Night’s Dream and a dingy Parisian bar set in the 1900s. The smell of cooked camembert still resonates in my mind as well as the Édith Piaf renditions. Some people loved Orpheus so much that they went again, and again, and again - and I don’t blame them. When it shows again I’m going to get a hot ticket and take all my friends with me. 

9)Best Theatre

Nominations: Union, Adelphi, Noah Coward, National, Rose Playhouse Theatre, Southwark Play House, Old Vic, Kings Head Theatre, Almeida, PlayTheatre

Rose Playhouse Theatre 

My opinion is based on the shows I have seen and my own personal experience of their customer service. Perhaps it is slightly biased but this theatre has been attentive and have shown some of the best Elizabethan plays that I wouldn’t have known about unless they had showcased them. An excavation area behind them, said to be the very earth that Shakespeare walked on, is a hidden gem, (despite not having enough heaters). It encases cast members running to the end of the cave, singing glorious arias, running to-and-fro and chucking blood (confetti) at each other as well as projecting some of the most scintillating music from classical and modern genres. If you haven’t visited yet, what are you waiting for? Lots of shows are coming up in 2015. I can’t wait for Othello in summer – my favourite Shakespeare play!  

10) Beautiful Theatre 

Nominations: Orpheus, The Merchant of Venice, 'Tis Pity She's a Whore, Two Gentlemen of Verona, Shakespeare in Love
'Tis Pity She's a Whore

The Sam Wanamaker is beautiful, in its own right, but there was something that Michael Longhurst brought to this crystal jewel box with this Elizabethan play. It's visually stunning and aesthetically a pleasure to watch, which teleports you back in time. The candlelight is romantic even if one would think the incestuous storyline would sully the overall ambiance - luckily for us, this wasn't the case.

CONGRATULATIONS PRODUCTION TEAM: WELL DONE!

Thank you for the Entertainment and Best Theatre for 2014   

Simon Keenlyside: If opera singers are ill, why bother singing at all?

UPDATE/November 2016:  Keenlyside is in good health. Click here to view post.

[My review of the production is available here on LDN.CARD]
(December 2014)

Last night at the Vienna State Opera House a weary Simon Keenlyside took to the stage to sing the lead role of Rigoletto. Unaffected by his appearance audiences were thrilled as his stage performance seemed to be going well. The opera started off strong: a sturdy Wiener Staatsoper Orchestra was led by seasoned conductor Myung-Whun Chung and there were some superb singing from its cast, which appeared to guarantee a night of success for Verdi. But in Act II, as Keenlyside sang "Cortigiani" in a scene with Gilda (Erin Morley), audiences across the globe (in the Vienna State Opera House, listening via radio, and watching the live stream) were shocked to hear that chunks of words were not being sung. Awkwardness swept the stage. 

Nervous Morley glared over at Keenlyside to await her cue and the Wiener Staatsoper orchestra continued to soldier on to the bitter end where audience folk felt compelled to boo at the stage.  Act III was salvaged however by last minute cover singer Paulo Rumetz.

This winter season has welcomed discussions regarding illnesses and classical music. On this occasion Keenlyside had been announced ill prior to last night’s premiere of Rigoletto and hadn’t showed up for rehearsals. Just before Rumetz entered the stage, audiences were told that Keenlyside ‘had lost his voice.’ The question lingers: if opera singers are ill, why bother singing at all? 

One thing we must consider is the extraordinary precautions singers take to ensure they remain healthy and fit for their performances. From their perspective, they don’t want to disappoint their fan base, risk their career or in monetary terms - loose money either. We can – just about - imagine what an international opera singer’s lifestyle looks like. We can assume, alongside the stress and long, endless hours spent on showcasing their art and perfecting their voices, that there’s the mounting pressure from their agents/PR representatives who encourage them to perform brilliantly on stage productions, including some productions they are physically unfit for, perhaps, to appease their audiences and numerous opera companies. Or, without stating names, there’s also the odd egotistical and ‘diva’-like singer who adamantly want to take centre stage irrespective of their health status. Now, bearing these things in mind, is it worth the singer’s physical welfare and time to perform in an opera even if they are sick? 

This could lead to a cataclysmic demise for a singer's stage performance as we saw last night with Keenlyside. Not only does this jeopardise the quality of their performance, which exposes their lack of ability on the night, leading to a potentially bad review but could add nasty repercussions on their career.

I admire Keenlyside for having the intention of singing in the first place and trying to hold out as far as he could in this production; but I fear that his decision to do so compromised his overall performance last night. As the opera progressed his acting and singing was at risk - the spark that he began with just dwindled towards the end of Act II. 

This isn’t the first time that Keenlyside has had to battle with illnesses during productions. This summer he had to cancel performances also as Rigoletto in Covent Garden. Yet put plainly: everyone get’s sick. There’s really no excuse to get angry with a singer if nature battles with their immune system, particularly during the winter season. It was worrying to hear audiences at the opera house booing at the end of this act. (There were also some booing at the curtain call and I wasn't sure if this was directed at the Keenlyside or the production team.)

Last year, Covent Garden’s renowned conductor Antonio Pappano offloading his frustrations about modern opera singers making last-minute cancellations for productions as he said ‘they are weaker in their bodies or don't care’. Pappano aired his opinion based on his professional insights in the Royal Opera House, which unfortunately the general public were not privy too. His feelings at the time reflect the views of opera customers who paid hundreds of pounds to see their favourite singer on stage. 

This has generated huge debates about the responsibilities of singers, agents, opera houses and audiences; yet we must attempt to see the view of opera singers with busy schedules. They travel internationally mostly away from their families and friends, and have to make multiple appearances in the public eye. The stress, the fatigue, the rehearsals and their exposure to others, who are potentially ill, are rife. There is very little that lemsip and regular vitamin C tablets can do for them, which can remedy us ‘average Joes’ who don’t live the manic opera-star life.

I didn’t appreciate the audience members who booed at Keenlyside yesterday. No upset audience member is worth jeopardising the health of a singer. I’d prefer to pay a lot of money to see a good opera performance where all members are well for the stage. Opera singers are not gods (or goddesses) and audiences shouldn't have higher expectation of them when they are just as susceptible at catching illnesses as ourselves.

Other opera singers who received flack for cancelling performances due to illnesses:

• Roberto Alagna (Numerous incl. 2006, La Scala) 
• Jonas Kaufmann (Numerous - Allegedly ill before Manon Lescaut at Munich this year, but pulled through. Cancellation at ROH, Les Troyens 2012) 
• Angela Gheorghiu (Numerous - Faust, Met Opera 2011)
• Rolando Villazon (Met Opera - Ring Cycle, 2009)   
• (Too many to mention)[Am happy to extend this list, please message me]
•  

Piotr Beczala as Don Giovanni Mantua vocally charged,hot&exceedingly good on the ears @WrStaatsoper @BarbicanCentre pic.twitter.com/3woknJg1je
— Mary Grace Nguyen (@MaryGNguyen) December 20, 2014

Paulo Rumetz replaced Keenlyside and have to admit... was a better #Rigoletto @WrStaatsoper pic.twitter.com/HSYqVAAOhJ
— Mary Grace Nguyen (@MaryGNguyen) December 20, 2014

Audience of @WrStaatsoper is as confused as the rest of the world #PoorRigoletto #coughcough Cinema @BarbicanCentre pic.twitter.com/MGDMnXGzfL
— Mary Grace Nguyen (@MaryGNguyen) December 20, 2014