[TheatreMadGoer]

Saw this last night, WOW!, or at least thats what my party thought, powerful, absorbing and some stunning performances, and Edward Gardner leaving me speechless at the end of each of the Sea Interludes.

I had major reservations about the set (my initial thought being Boris Godunov's awful set all over again) when I first walked into the theatre, however as the evening develops, the revelation of how the set has changed each time the curtain goes up is quite extraordinary. The set for the scene in Peter's hut being one of the best I have seen in a long time.

Also the lighting designer deserves full marks, especially for an opening that surprised everyone, I will not spoil it.

[Job]

Saw this last night, WOW!, or at least thats what my party thought, powerful, absorbing and some stunning performances, and Edward Gardner leaving me speechless at the end of each of the Sea Interludes.

I had major reservations about the set (my initial thought being Boris Godunov's awful set all over again) when I first walked into the theatre, however as the evening develops, the revelation of how the set has changed each time the curtain goes up is quite extraordinary. The set for the scene in Peter's hut being one of the best I have seen in a long time.

Also the lighting designer deserves full marks, especially for an opening that surprised everyone, I will not spoil it.

Thank you for this appetite-whetter. I've been wondering why ENO felt the need to ditch Tim Albery's excellent version prematurely - just as I wondered why David McVicar's Turn of the Screw (about which I have reservations) was brought in to supersede Jonathan Miller's production (about which I had none) because, though I concede it was getting on a bit, the latter was a great, great staging. It's not as if either work's a house regular (like The Magic Flute, say) so if it ain't broke, why fix it?

Whatever. I'm still looking forward to seeing this new Grimes in a fortnight. Can't wait.

Job

P.S. On the subject of Britten at ENO, please bring back Robert Carsen's 'Dream'. That Portugese-derived DVD of it doesn't begin to do it justice.

[Job]

Further to the above... A thought occurs to me, having read the first reviews of PG: why can't the larger houses maintain more than one production of the same opera? It seems to be a given that before launching a new production the old one has to be put to sleep; yet, when there are two strong, contrasting interpretations of the same piece lying around, why not revive them in alternation - say, in consecutive seasons?

The David Alden Grimes promises to be fascinating, but does that mean that the previous one's suddenly become superannuated? A shame if so.

Job

[TheatreMadGoer]

Didn't get to see Tim Albery's staging, so can't comment, but will be interested to see what people make of this. Reviews have been positive generally.

[SimonThomas]

WOS' 5 star review now online: www.whatsonstage.com/opera

[SimonThomas]

would love to see this, but am still shattered from the amazing Opera North version a couple of years back. That was opera at its most raw and powerful and terrifying.

Opera North's production was terrific but this is even better, not least because the orchestral peformance is more convincing. This is an opera you can never tire off and you shouldn't let the memory of the earlier production put you off seeing it. It's a phenomenal piece of work.

[Trev]

Opera North's production was terrific but this is even better, not least because the orchestral peformance is more convincing. This is an opera you can never tire off and you shouldn't let the memory of the earlier production put you off seeing it. It's a phenomenal piece of work.

Never mind the fantastic production, you are unlikely to get such a phenomenal cast again in a hurry. I was expecting the usual excellence from Finley, Roocroft and Palmer but Stuart Skelton is a revelation and poor John Daszak has a very difficult act to follow.

[Job]

Brilliant. I can only echo all the raves.

About the outstanding singing and playing it's all been said; but I must add that was transfixed by the chorus to a degree I've never experienced in previous productions. A combination of an inspired concept, brilliant musicianship and dynamic stagecraft lifted it to extraordinary heights. And to think of the times I've slated the ENO Chorus... but this was a new animal entirely.

I must give a nod to the choreography, too, which was so arresting - particularly Ned Keene's diabolical writhings and the fixed-foot routine in Auntie's pub at the end of Act One. What a night.

Job