Striking Twice
29 November

Lightning, of course, is not supposed to strike twice.

But it does, of course, even in nature.

And it certainly does in the realms of metaphor.

Even so, I travelled over to The Lowry to see Opera North's Traviata with hope mingled with apprehension. It's a production I had seen in London four years ago. In the event, if the experience wasn't quite as overwhelming second time around, it was certainly worth a few cheers at the end.

There were many changes of personnel. I wanted to hear Tom Randle's Alfredo again and wasn't disappointed. It's not the best sung Alfredo I've ever heard and Tom has some increasingly irritating stage mannerisms. However, he truly inhabits the character and lives the part for the two hours' traffic. By contrast, I opted not to hear Janis Kelly's Violetta this time but to go for Linda Richardson's performance. She was a knock-out. She has the colloratura for the first act, the dramatic qualities for the second and the ability to spin her voice out on a thread in the final act. She looks good and she can act. All in all, both principals made a splendid team. They were sorely let down by the coarse, galumphing singing of Robert McFarland's Germont père. I would not willingly travel to hear him sing again. A brief word in praise of John Graham-Hall again who turned in yet another completely selfless performance in the relatively minor rôle of Gastone.

The conductor was Philip Sunderland. He conducted a very lean account of the score with good rythmic impulse and very spare textures. I don't think I've heard quite so much oboe before. He really let the internal chords of the music rise through. I'd opted for him in preference to the alternative conductor, Mark Shanahan who conducted a very limp Tosca at English National Opera this spring. By chance, I ended up sitting next to Mr Shanahan having a pizza before the performance. If I were to say "Nasty, viscious queen" would that give you a quick character portrait?

So, I'm torn. Robert McFarlane was a real pain but there was so much to enjoy in this performance. I'm going to give it four stars.

The following night Ross and I braved the elements and the rush hour to attend Manon. This means that, alongside Rusalka, I've seen all of Opera North's autumn season which has been sub-titled Women on the Edge. Clearly, this is a company with a bit of a buzz about it at present. Welsh National Opera may be slightly more refulgent when it comes to orchestral and choral sound but Opera North have the edge in terms of the excitement of committed discovery. This performance was no exception. It was an entirely delightful night out and well worthy of four stars.

Malin Byström was the Manon. She has a more than pleasant voice and an easy stage presence but her French was all over the place. Julian Gavin was the Chevalier des Grieux. I've heard him sing on many occasions now (Don Carlos (twice), Rigoletto, The Tales of Hoffmann, La Bohème and Ernani) and I think that he is a fine singing actor. William Dazely was a fine Lescaut and Wyn Pencarreg caught the eye and ear as de Brétigny. Chorus and orchestra acquitted themselves excellently. Alistair Dawes conducted with finesse. All in all, it was an entirely engaging evening.

The production was by Daniel Slater, who was responsible for WNO's The Elixir of Love this spring, and it was excellent. It's ages since I saw an opera production where I liked the frocks and the hair-does and the setting and the movements of the principals. I don't suppose that vast amounts of money had been spent. But it felt as though they had.

That's two productions by the same man which support and present the work rather than fighting with it. Opera North are reviving his production of Smetana's The Bartered Bride next year. It's over twenty years since I last attended this work so I was going to give it a go. After the Donizetti and the Massenet, it's become an absolute must.

He's also directing Opera North's new production of Puccini's Manon Lescaut next autumn. That's the only major Puccini which I have never seen so it's another must see in my book. If and when I get to see it, it will be one more ticked off my short list of works that I really want to see. The other two are Verdi's Les Vêpres Siciliennes and Delibes' Lakmé. Someday, given a fair wind, I'll get to see them too.