The Icelandic volcano even managed to have an impact on Opera in Bristol with several members unable to get back from foreign climes. What with transport issues and illness there were at least 5 changes announced before the show - if they hadn't have said we would hardly have guessed so smoothly went the evening.
Mozart's opera, written in German, is not performed that often, and there were moments when the subject matter could have crashed through the p.c. barrier but when all is said and done this is a lightweight slip of an opera there for the fun of the thing - and that was how it was played. This production is set on the Orient Express in the 1920's .. a bit of a stretch but actually it worked really well (though how Belmonte managed to "have a boat ready" all the way from Istanbul to Paris eludes me!). In fact the setting is quite a star in this piece with a full train the width of the stage which moves from side to side to centre particular areas or reveal additional "carriages" - a lovely effect well used and wholly appropriate. One small-ish point, if you're going to use the broken wall effect, which works so well, then please make sure your actors don't put their arms though it - it does so break the illusion!
Good vocal performances throughout, though perhaps a little swamped by the orchestra at times (from stalls row K) and with a few (gforgivable in the circumstances) hiccoughs in Osmin's cues (Julian Close) and some uncertainty in Konstanze's vocals (Elizabeth Donovan). For me, the evening was stolen pretty completely by Fflur Wyn's Blonde ... her characterisation and performance, even when out of the main action, were a delight.
Opera doesn't always make you laaugh out loud, this production did ... thank you WNO for a great night out
