Opera Il Segreto Di Susanna/Iolanta is a magnificent, laugh-out-loud, first-class piece of entertainment that silenced even the chattering classes
Il Segreto Di Susanna/Iolanta
Opera Holland Park, London
Save the best till last, they say. And they’re right. Tchaikovsky’s little-known Iolanta, my final summer opera of the season, brought singing from the two British principals, Natalya Romaniw and David Butt Philip, of such excellence it would have graced any operatic stage in the world.
The extended duet between the blind princess Iolanta and her suitor Count Vaudémont swept me away. Magnificent. Even the chattering classes, always a bit too prevalent at Opera Holland Park, were temporarily silenced.
And it’s not just the two principals who shone. Russian bass Mikhail Svetlov as the King was in imposing voice. In fact the whole cast batted down the order, showing yet again James Clutton’s skill at casting on a limited budget.
Tchaikovsky’s little-known Iolanta brought singing from the two British principals, Natalya Romaniw and David Butt Philip, of such excellence it would have graced any operatic stage
In the pit, the Leningrad-trained Sian Edwards, a Russian music specialist, and now head of conducting at the Royal Academy of Music, showed what a loss she is to mainstream opera with a totally idiomatic, compellingly dramatic reading of one of Tchaikovsky’s finest, but least appreciated (at least in the West), scores.
She had an unhappy spell when too young for the job as English National Opera’s music director, but surely now in full maturity as a musician, she should get back out there.
Talking of ENO, OHP’s award-winning duo of Clutton and Michael Volpe were overlooked the last time ENO was looking for an artistic director, in favour of the hopelessly inexperienced Daniel Kramer, who, unsurprisingly, has departed.
This opera was really well performed by the rising young British soprano Clare Presland and, with John Savournin in fine form as Susanna’s dumb waiter, this was first-class entertainment
The Arts Council should step in to ensure its millions are not frittered away again by the wrong choice from an unimpressive board, led by a chief executive devoid of operatic experience.
Clutton and Volpe are standout choices. Maybe whoever is this week’s Culture Secretary should take an interest as well. But I’m not holding my breath.
To end more positively, proceedings in Holland Park’s big tent began with Wolf-Ferrari’s once so popular, now so forgotten one-acter Il Segreto Di Susanna. Susanna’s jealous husband, Gil, thinks she’s having a secret affair.
In fact she’s a secret smoker!
Unusually for a comic opera, this one is laugh-out-loud funny. And really well performed by the rising young British soprano Clare Presland and the experienced baritone Richard Burkhard.
With John Savournin in fine form as Susanna’s dumb waiter, this was first-class entertainment. John Andrews conducted with verve, John Wilkie’s production was stylish, and takis’s set arguably the best at any Holland Park show.
A stunning evening. As good as it gets.