GILBERT & SULLIVAN THE MIKADO ENO FEBRUARY 3 2006
Just a few words to welcome back this ENO favourite, the Jonathan Miller production of 20 years ago in fine fettle in Stephen Speed's revival, and the orchestra on its toes under Simon Lee. I enjoyed a little better the second act, with its pastiche of composers' styles and more interaction between the characters. The temperature had risen just before the interval with the arrival of the indestructible Felicity Palmer, and it was a joy to watch her hurl Richard Suart around the stage. But one word of warning. The acoustics of the Coliseum vary with where you sit. I generally find audibility of the texts, equally important as the music in Gilbert & Sullivan, better towards the sides. Surtitles would be appreciated by London's cosmopolitan opera goers, for many of whom Victorian England (masquerading as Japan) is a world apart, even though they would outrage regulars (many of whom know the libretto by heart). But it was disconcerting, despite best efforts of the repetiteurs, to lose so many words of W S Gilbert's verses, so that the sense of many of his ingenious witticisms went for nothing. From our (good) seats, that was particularly marked in the opening CHORUS OF NOBLES: If you want to know who we are, If you think we are worked by strings, Long out of copyright, Gilbert's libretti are available on the Net. A little homework on http://math.boisestate.edu/gas/mikado/libretto.txt could be as worthwhile as studying those of The Ring. Having scanned Gilbert's Mikado beforehand, you'll catch far more of it on the night. Instead of paraphrasing other reviewers' sentiments (I have seen none to dissuade you from going to see ENO's Mikado again) I direct you to Hilary Finch's eloquent summing up in The Times of this delightful evening's entertainment. See also our warm reception for Hot Mikado at Highgate, and the CD.
Picts: Alastair Muir |