'Betrothal in a Monastery' (2016)
Opening thoughts: 'Betrothal in a Monastery' was a new discovery just under a decade ago, and not one that was regretted. It is a genuine treat of an opera, okay the story is ridiculous but there is immense fun to be had and Prokoviev's music (whether you like it or not, personally do like it but am more a Tchaikovsky fan admittedly) is very witty and clever. Too many Russian operas are unjustly neglected and deserve to be performed more and wider known and this is one.
This concert production was a joy, one may prefer to see the opera on stage and more traditionally, but it is always interesting seeing something done differently and so brilliantly. Not all operas lend themselves to concert performances in my view, especially ones with such specific settings, but with the type of opera it is 'Betrothal in a Monastery' is one that does. And it is done brilliantly here by Mariinsky, who at their best perform Russian repertoire better than most opera houses and orchestras.
Good things: Everything. It looks good visually, with lighting that never looked drab or over-bright and tasteful costuming that isn't fussy or tacky. The stage doesn't look too cramped despite a lot happening on stage.
While not entirely faithful to the libretto (i.e. Ignoring the references to Mendoza's beard), the staging is always done in good taste, is always coherent, true to the spirit of the story and full of energy. There is major emphasis on the comedy, appropriate as it is Opera Buffa, but the humour is truly riotous, performed with full throttle gusto and never felt strained, vulgar or too polite.
Musically, the production is outstanding. There is exuberant work from the chorus and e specially the orchestra, the latter like its own character and part of the action. The fish market sequence is a major standout musically.
Regardless of my serious misgivings with Valery Gergiev as a person, his early and mid career showed an immensely gifted conductor who contributed heavily to making Russian opera better known and more accessible internationally and doing it also in the original language. This was at a point where his work was becoming hit and miss due to trying to do too much and under rehearsal, but his conducting here is committed, incisive and never pedestrian or heavy.
All the principals are never less than good, with Larisa Diadkova and Sergey Alexashkin being electric.
Closing thoughts: Overall, a joy.
10/10.
Opening thoughts: 'Betrothal in a Monastery' was a new discovery just under a decade ago, and not one that was regretted. It is a genuine treat of an opera, okay the story is ridiculous but there is immense fun to be had and Prokoviev's music (whether you like it or not, personally do like it but am more a Tchaikovsky fan admittedly) is very witty and clever. Too many Russian operas are unjustly neglected and deserve to be performed more and wider known and this is one.
This concert production was a joy, one may prefer to see the opera on stage and more traditionally, but it is always interesting seeing something done differently and so brilliantly. Not all operas lend themselves to concert performances in my view, especially ones with such specific settings, but with the type of opera it is 'Betrothal in a Monastery' is one that does. And it is done brilliantly here by Mariinsky, who at their best perform Russian repertoire better than most opera houses and orchestras.
Good things: Everything. It looks good visually, with lighting that never looked drab or over-bright and tasteful costuming that isn't fussy or tacky. The stage doesn't look too cramped despite a lot happening on stage.
While not entirely faithful to the libretto (i.e. Ignoring the references to Mendoza's beard), the staging is always done in good taste, is always coherent, true to the spirit of the story and full of energy. There is major emphasis on the comedy, appropriate as it is Opera Buffa, but the humour is truly riotous, performed with full throttle gusto and never felt strained, vulgar or too polite.
Musically, the production is outstanding. There is exuberant work from the chorus and e specially the orchestra, the latter like its own character and part of the action. The fish market sequence is a major standout musically.
Regardless of my serious misgivings with Valery Gergiev as a person, his early and mid career showed an immensely gifted conductor who contributed heavily to making Russian opera better known and more accessible internationally and doing it also in the original language. This was at a point where his work was becoming hit and miss due to trying to do too much and under rehearsal, but his conducting here is committed, incisive and never pedestrian or heavy.
All the principals are never less than good, with Larisa Diadkova and Sergey Alexashkin being electric.
Closing thoughts: Overall, a joy.
10/10.
