Fidelio at Longborough

[verismissimo]

I’m interested in operatic productions at two extremes – exploring how it might have been at the time and also how it might be now. Stephen Walsh in the artsdesk gave Orpha Phelan’s postmodern effort at Longborough a resounding raspberry – ‘death to the concept of concepts’ was his headline. Silly old fart. His review was so extreme that I went along (with two daughters, a granddaughter, a wife and a father-in-law) expecting at the least to be stimulated.

In Act 1 it’s set in a what appears to be a drugs factory (chemicals, white coats, syringes etc). I couldn’t make any connections at all to the plot and characters I thought I knew. And all that money spent on the set – very unlike Longborough. Granddaughter had explained the plot to youngest daughter, so at least she had some clues as to what was going on.

Anyway, we got to the interval, ate our picnic, had a drink or two, agreed that the production was making the whole thing hard to comprehend and that the singing was ok, but no more, and went back for Act 2.

Whether the money had run out by this time, or the director and designer had run out of ideas, or the Grahams (who own the place) had drawn a line, I can’t say, but from here on it was plain sailing – a bare stage and the extraordinary music allowed to speak for itself.

We decided afterwards that the chorus and orchestra had been best things.

[Dave2002]

I thought it was an interesting production, though I understand your (and other's) misgivings. That's not to say I liked it overmuch, but the music did shine through, particularly with the rousing chorus at the end.

Does Longborough normally mix languages? Here English was used for spoken dialogue, while German was for the singing.

[Dave2002]

This review expresses feelings in line with my own - http://playstosee.com/fidelio-2/ - I'd not read it before my earlier post. It does contains spoiler though, so anyone who wants to see the production without prejudice might want to read it afterwards.