Calixto Bieito has returned to the English National Opera to direct Verdi's truly epic opera of love and war. The scale of the piece ranges from the personal to the large scale war scenes which leaves quite an impact on the audience. Wigglesworth's interpretation of Verdi's score, as with Lady Macbeth, is dramatic, grand and rich. The overture is just wonderful to listen to. The singing too is world-class. Tamara Wilson is a revelation as Leonora whilst Gwyn Hughes Jones' Don Alvaro is also well constructed and strong. The piece could be stronger with a less ambiguous set design from Rebecca Ringst whose use of videos is not helpful to either plot or meaning whilst Bieito isn't always clear in showing the audience what is going on. This detracts somewhat from what is otherwise an evening showcasing extraordinary talent.
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Shakespeare and opera seems to be the perfect combination to alienate people. The most feared playwright having his work produced in one of the most feared art forms surely must lead to a piece threatening and inaccessible. However, Carson's production is joyful and fun and provides a delightful evening of entertainment. Maestri's Falstaff is wonderful to watch, providing fun and laughter whilst the rest of the cast support the performance well, carrying off Verdi's complicated and fast melodies even if the vibrancy doesn't quite match that of Ambrogio Maestri. The set from Steinberg feels homely and fun even if the 1950s setting doesn't feel purposeful. I also wouldn't have understood the references to Deer horns if it wasn't for a very helpful Italian woman who explained their relevance as an Italian insult for a cheater. The times Shakespeare is translated almost word for word occasionally jarred with me, especially with the honour aria in Act One but this is no fault of the production. Overall, this is a refreshingly enjoyable evening that leaves you feeling light and refreshed.
