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<<<  <<  -- 4 --  Robert Hugill    PROFOUNDLY SATISFYING

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Ochs' son Leopold had quite a prominent, non-speaking part and McVicar developed quite a relationship between the two. The way they danced together during the waltz at the end of Act 2 spoke volumes for their life back home.

McVicar staged the rather confused activities in Act 3 pretty much as presented in the libretto: I have not yet seen a production which manages to make complete sense of this scene. But McVicar made sure that the developing emotional situation told. Watson's Marschallin carried over her tearful, melancholic mood from Act 1, so that she was rather more troubled than some Marschallins; something which made the final trio more poignant. The female voices blended beautifully here, and all three sang with a lovely clarity of line, though I could have wished that Watson had opened the trio with rather more heft than she did.

The smaller parts were all well taken, many by members of the ENO chorus.

Edward Gardner in the pit showed a good grasp of the overall shape of the piece, keeping the music flowing and ensuring the suppleness and flexibility of Straussian rhythm. Occasionally he seemed to mistake speed for impulsiveness, but this was an impressive début.

Whilst in some ways it was extravagant of ENO to replace Jonathan Miller's production, this was a profoundly satisfying evening. This is a Rosenkavalier to which I could happily return.

Copyright © 10 June 2008 Robert Hugill, London UK

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ENGLISH NATIONAL OPERA'S 'LUCIA DI LAMMERMOOR'

'DER ROSENKAVALIER' IN CLEVELAND

WHAT IS THE ENGLISH NATIONAL OPERA FOR?

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