27 – 29 November 2012

Reviving productions can obviously be fruitful for any company but there may be hazards running a season entirely based on them. Katie Mitchell’s highly dramatic and passionate reading of Handel’s Jephtha has made a strong impact since its first showing almost ten years ago and in the hands of revival director Robin Tebbutt still makes an excellent case for staging what is, after all, an oratorio.

The emotional complexity of the work means that our sympathies shift as the story unfolds, but on this occasion it was the arrogance of Jephtha himself, in his refusal to ask for help or clemency on the part of his innocent daughter, which came over most clearly. The anger and understandable lack of forgiveness from Storge at the end was never in doubt as the men return to what they do best, running the world, regardless of the emotional turmoil they have caused around them.

Robert Murray made a reliable if not necessarily likeable hero, his rendition of Waft her angels one of the few moments we felt real sympathy for him. Fflur Wyn’s Iphis has been a key feature of this production and her combination of innocence and nobility, together with a beauty of tone and musical line, carries all before it. On this occasion she was partnered by Robin Blaze as Hamon, suitably gauche at the start but eventually caving in to the driven masculinity around him. Only Diana Montague’s distraut Storge stands out against the demands for Iphis’ sacrifice, but what is one female voice in so masculine a world. This may not have been the way the Georgian audience would have read the work but today it makes its case with authority and bite.

Thomas Blunt, on the one time in this run he was due to conduct the work, made the most of the shallow pit and there was fine continuo work from Mark Packwood on harpsichord and organ. At the end the cast showed their appreciation of Thomas Blunt’s handling of the evening – it is never easy taking over at the end of a run.

I have to admit I did not enjoy Benjamin Davis’ production of Cosi fan tutte when it was new last year and its vulgarity has only been slightly tempered in revival. Quite why anyone should think this an adequate presentation of Mozart’s sensitive masterpiece is beyond me. Allowing central arias to be up-staged by comic business can only be accepted if there is a water-tight dramatic reason for it. Here, time and time again, it seemed to be that the director was afraid of his material and refused to allow it to sing for itself. Thankfully much of the singing was convincing, even with two late changes to the cast. Steven Page made a cynical and aggressive Don Alfonso, in league with a charming Despina from Joanne Boag who learns all too late just how nasty a world she has got herself involved in. She is a fine comic actress, and under other circumstances could have made the part far more impressive. Maire Flavin dropped into Dorabella with flair and a voice which found no difficulty with Mozart’s demands. That she was asked to emote wildly and flamboyantly was not her fault. Elizabeth Watts’ diminutive Fiordiligi was all fire and attack but gave us one of the few reflective moments of the whole evening with a fine Per pieta. Gary Griffiths’ Guilielmo enjoyed himself as an over-the-top Redcoat but Andrew Tortoise’ Ferrando, though accurate, was emotionally flat and uninvolved.

In the pit Mark Wigglesworth took a brisk no-nonsense approach which, under the circumstances, was probably wise. I hope this is the last we see of this staging. WNO and Mozart both deserve better.

The rapid return of Annabel Arden’s production of La boheme was far more welcome. Its simplicity and courage to trust the work itself makes for a convincing evening on every level. Stephen Brimson Lewis’ design work and Sam Hunt’s videos allows the emotional ebb and flow of the work to be supported without being overwhelmed. How good to see act two without feeling the need to round up every extra in Cardiff and throw in animals and brass bands for good measure. For once we were able to concentrate on the protagonists and their rapidly unfolding relationships. After two lengthy evenings prior to this I was struck again by just how short La boheme actually is and how succinctly Puccini moves us on. Casting from strength, the students are physically convincing as well as having the vocal strengths for the part which, if short, is also demanding. Alex Vicens and Giselle Allen were well matched as Rudolfo and Mimi, but I particularly enjoyed the more wayward, and adult, relationship of David Kempster and Kate Valentine as Marcello and Musetta.

Andrew Greenwood cosseted his forces in the pit, allowing it to overflow where necessary but never milking the score for simple sentimentality.

This was a strong way to end the season, and made it easier to overlook the night before. In the Spring we are off to a better start with a new production of Lulu and revivals of a fine Cunning Little Vixen and Madama Butterfly. www.wno.org.uk/