the ghosts of versailles review
It is a highly ambitious work with a complicated plot, a large cast and huge production demands …
She is grateful to Lorraine Treanor and the opportunity of DCTheatreScene to jump into the privileged audience seat from time to time to learn from and be inspired by her colleagues making theatre and opera in the Greater Washington area.Miss Galbraith, Having seen G of V yesterday afternoon and having read a few glowing reviews of this production. Greeting us upon entering the auditorium is a vast black-and-white scene, suggesting decorative wallpaper, on a curtain that looks to be from the period of the French Revolution.
The shimmering broken-up effect wrought by designer James Noone complements exactly composer John Corigliano’s fragmented and complex soundscape, and both serve to illuminate the three or more worlds in the opera (the ghosts-in-residence, Beaumarchais’ artistic configuring, and the Figaro plot of the play-within-the-play.
Figaro returns, but to Beaumarchais' shock and the amusement of the Ghosts defies Beaumarchais's intention that he return the necklace to the queen, as he wants to sell it to help the Almavivas escape. This production was a mashup of confusion and over singing. “The Ghosts of Versailles,” currently being performed at the Los Angeles Opera, may well have been the epitome of lots-of-zeros, go-go opera. His score has nods throughout to some of opera’s biggest hits, but he also used his vastly accomplished musical palette to underscore and evoke moods in a very contemporary, even cinematic way. The Metropolitan Opera had commissioned the work from Corigliano in 1980 in celebration of its 100th anniversary, with the premiere scheduled for 1983. His character is not only the lens through which we entered his creation but should have been rendered as the most sympathetically-drawn character. The ghost of the playwright Beaumarchais, author of The Barber of Seville and The Marriage of Figaro, has fallen madly in love with the ghost of the executed Queen Marie Antoinette, who after two centuries still grieves for her lost life. I think many of us in the audience wondered where was that kind of sound all evening? During the outrageous performance of the Turkish singer Samira, Figaro steals the necklace from the Count before the sale can take place and runs away, hotly pursued by everybody else.
)Costumes and lighting add greatly to the weird dreamscape of the work.
The production has been invited to be performed in Marie Antoinette’s own theatre at Versailles. Ghosts seems to be trying to be all things to all listeners — edgy, nostalgic, farcical, adventuresome — and, in so doing, manages to not be a particularly satisfying drama.. By Jonathan Blumhofer “This is not opera! “Ghosts” is surely ambitious, but in size, not surprise.For a piece in which emotions ostensibly run high — everyone, as usual in opera, is always in love or in hate with everyone else — the emotional power is strangely muted. Bégearss readies his men to arrest the Count, but Figaro intercepts the plot by infiltrating the party dressed as a dancing girl. LOS ANGELES — I once met a woman who had worked in finance during what she called the “go-go 1980s.” “Lots of zeros, lots,” she said with a smile and not a little relish, recalling the size of the salaries.After gestating over the next decade, the work finally had While a pared-down arrangement has had some success in recent years, it’s no surprise that with opera’s cash-flush ’80s long over, productions of the full-scale work have been few and far between.
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