Posts Tagged ‘ Mike Figgis ’

Lucrezia Borgia, ENO: review

ENO, Coliseum
Dir: Mike Figgis
ENO Lucrezia

Mike Figgis, who directed the film Leaving Las Vegas, has turned to opera. With mixed results. Donizetti’s, Lucrezia Borgia has everything a director could wish for: rape, murder, incest and tragedy. It’s a gift, in short, and an over-excited Figgis throws everything at this sumptuous production. The evening drips with jewels and velvet, but instead of being elegant and graceful, the production stumbles under its own voluptuousness.

Things get off to a bizarre start, with a film apparently in homage to the Twilight franchise. According to the director’s note in the programme, the footage is supposed to fill in the background details of Lucrezia’s life. The result is an eye-brow raising mixture of budget soft porn and medieval morality play. Such a simplistic “whore-of-Babylon” view of Catholicism has not been expounded since the Mystery plays and such blatant anti-Popery sits awkwardly next to Donizetti’s nuanced work.

Three more films punctuate the evening but they are so different from Donizetti’s version of the story in style and tone that they add nothing but momentary titillation (this production is definitely not for kids). The Lucrezia in the short films, played by Katy Saunders, is so completely two-dimensional and different from Claire Rutter’s brilliant representation on the stage that many of my fellow audience members were utterly confused.

Lucrezia Borgia

Further confusion is caused by Figgis’ decision to turn the male “trouser role” of Orsini into a woman. Traditionally, these parts are male characters but sung by women (like the princes in modern pantomime, for example). Figgis’ clear impatience with this convention means we are presented with a female Orsini – Elizabeth DeShong in the role wears a corset, high heels and has long wavy hair – but who wears men’s clothes, talks like the other men and is supposed to be a soldier. An unnecessary and confusing change.

All that aside, the music is magnificent. Claire Rutter in the lead role is both hateful and tender: she lurks in the shadows like a spectre, aware of her own powerlessness but adept at getting what she wants. Rutter’s Lucrezia is not the caricature villain of Figgis’ film – and thank goodness. She is a complex woman and Rutter’s voice manages to suggest years of repressed emotion much more effectively than tens of Figgis’ background films could have done. Her first aria, as she gazes at her sleeping long-lost son is masterful and her argument with her husband, Alfonso (sung by Alastair Miles), bristles with tension and resentment. Michael Fabiano as her son, Gennaro, is desperate and pleading, jovial and amorous and steals the second Act with his opening aria.

The orchestra, conducted by Paul Daniel, is energetic and bright – just the thing for Donizetti – and the horns are particularly strong. The musical aspects of the evening are brilliant – it’s just a shame the staging lets them down. Figgis is new to opera – and his production reflects this. The set (by Es Devlin) is magnificent and the costumes beautiful but it is as if Figgis has created his idea of opera – all extravagance and gold leaf – rather than looking at the work itself.3 Comedy Masks

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