Britten’s opera is among two that Glyndebourne has selected to mark the Shakespeare 400 anniversary. Seeing it within the same season as Berlioz’s Béatrice et Bénédict constitutes a telling contrast. What effective Britten is as simple as remaining near to the original play.
Within this fine revival, every word of Shakespeare’s text is simple to listen to — thanks partially to Britten’s fine word-setting, and partially for an excellent cast. The omens are often great for this opera when the music within the fairy kingdom enchants. Tim Mead, together with his perfect enunciation, is really a pearly, obvious-voiced Oberon and Kathleen Kim matches him like a Tytania of gemstone cut. On top of that, Daniel Evans constitutes a brilliant Puck, a pint-sized ball of impish energy whose exuberance energises the entire performance.
Following the forced (and not so amusing) humour from the Berlioz, it comes down like a relief to obtain the comic moments of the Midsummer Night’s Dream underplayed. Heading a properly-cast number of mechanicals, Matthew Rose isn#8217;t a natural comic actor, but he crafts the function of Bottom after their own deadpan style, and the bass voice is of luxury quality. One of the four enthusiasts, Elizabeth DeShong’s spirited Hermia and Benjamin Hulett’s confident Lysander make a great pairing, much more than Duncan Rock’s sterling Demetrius and Kate Royal’s vocally less well-focused Helena.
That old ones are the best. Glyndebourne’s manufacture of A Midsummer Night’s Dream dates from 1981 and also the finish from the era when Peter Hall was artistic director. It#8217;s dated only meaning that it doesn#8217;t see the opera from among the skewed sexual or mental angles that are presently fashionable recently. The production’s simple beauty, its atmosphere, its magic — each one is as entrancing because the day it was initially seen.
To August 28, glyndebourne.com
At each turn magic is scattered over this cast. Jakub Hrůša takes his time over Britten’s music, however the reward is high-class playing in the London Philharmonic Orchestra that finds not just the moonlit sparkle from the score, but additionally its sinister shadows. Hall’s production, occur a mysterious, living forest (shades of Tolkien), remains a eighties jewel. Enchantment such as this doesn#8217;t go from fashion.