Insofar as Lucy Crowe is concerned I think dark loom is way off the mark. She sings Gilda and Musetta but otherwise not much Verdi and Puccini but is probably one of the leading Handel sopranos in the world and is renowned in Janacek operas and is a favourite of Rattle in a lot of repertoire . She sings at the Met - the BPO and VPO call her in to sing Mahler 2 ( I think she’d be great in Mahler 4 . She has an OBE - she has dozens of recordings - she strikes me as a major star.
Prom 68: Britten - A Midsummer Night's Dream, Garsington Opera / Philharmonia, Boyd
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Originally posted by bluestateprommer View PostThe modest size of the orchestra exposes any fractional ensemble slips, which very occasionally happened, but were of no concern at all.
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Originally posted by Master Jacques View PostWhich orchestration were Garsington using? The original chamber version, or the expanded one (with much-enlarged string sections, essentially) for big houses? BB allowed both.
324 likes, 3 comments - bbc_proms on September 10, 2024: "What a magical evening! ✨ Tonight’s Prom marked the debut of @garsingtonopera who bounded onto the stage with one of Benjamin Britten’s most beloved operas, ‘A Midsummer Night’s Dream’. ? A huge bravo to the cast, including Garsington Opera Youth Company, @dougieboydconductor and the @philharmonia_orchestra.?? ? Listen now on @bbcsounds ? BBC / Chris Christodoulou".
Some reviews:
“What angel wakes me from my flowery bed?” More often than not, when Shakespeare is adapted into different formats, the text is largely lost but the story remains - not so in this case. Benjamin Britten and his partner Peter Pears opted to go without a librettist, instead taking Shakespeare’s words and shuffling parts of the play about a bit. It certainly makes sense that work from such a lyrical playwright could be directly transformed into song, and by and large it feels like quite a natural transition.
Some operas shine in the vasts of the Albert Hall, others seem to creep back into their beautiful shells. Glyndebourne’s Carmen blazed, though Bizet never intended his opera for a big theatre, while Britten’s A Midsummer Night’s Dream, despite an equally fine cast from what’s now an equally fine company, Garsington Opera, left us with some black holes in the iridescent spider-web.
In light of the orchestration question, it's interesting to read in Debbie Gilpin's review that the orchestra very occasionally covered the singers. Perhaps given the size of the RAH, that shouldn't have been a surprise.
Light aside: at least Camilla Harris is slightly taller than Stephanie Wake-Edwards, given that the storyline requires Helena (CH) to be taller than Hermia (SW-E). This is a dramatic stipulation not always observed :) . More seriously, Daniel Vening deserves high praise for pinch-hitting for Richard Burkhard as Nick Bottom, as designated cover singer, and doing an excellent job.
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