Harry Nicoll News
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2024-04-23
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2021-09-26 11:59:15
An engaging young Papageno and fine international cast, David McVicar's production of Mozart's Die Zauberflöte is in fine health at Covent Garden
[…] Hipp, and Stephanie Wake-Edwards, something more of an ensemble than three distinct personalities, but strongly characterised and finely sung. Polish bass Krzysztof Baczyk made a distinguished Sarastro, bringing the Enlightenment Ruler element of the characterisation out rather then the kindly old philosopher. Baczyk both looked and sounded good, and his voice had the flexibility and range for the role. A supremely distinguished performance. David Soar made a fine Speaker in the same vein, with Harry Nicoll and Donald Maxwell as the characterful and highly contrasted Priests. Alan Pingarron and James Platt (who sings Sarastro at some performances) were very fine and vocally well matched Armed Men. Michael Colvin clearly relished the nastiness of his performance as Monastatos, and so did we! The three boys were Rafael Flutter, Ben Jardim and Victor Wiggin, making a fine trio with a definite sense of theatrical presence about them, and they held their own […]
2021-09-20 20:24:08
[…] was as famed for its fairytales and comedies as its Goethe, and the original production included sixteen set changes as well as real lions, monkeys and serpents. This does not mean that there are no moments that miss the mark as the journeys through fire and water feel a little lame as they merely see the actors writhing and swaying. In addition, amusing though it is to see the two Priests (‘old hands’ Harry Nicoll and Donald Maxwell on typically good form) involuntarily jiving to Papageno’s ‘Ein Mädchen oder Weibchen’, the spectacle detracts from us really engaging with Papageno’s sorrow, and seems too small for the Royal Opera House stage. It might have been better either to have let Papageno sing the aria totally unimpeded, or to have injected it with far more activity. Hartmut Haenchen’s conducting is excellent as he makes the score feel pithy while still bringing […]
2021-09-18 11:43:00
Die Zauberflöte, Royal Opera, 15 September 2021
Royal Opera House Tamino – Bernard Richter Pamina – Salome Jicia Papageno – Huw Montague Rendall Queen of the Night – Brenda Rae Sarastro – Krzysztof Baczyk Monostatos – Michael Colvin Papagena – Haegee Lee Speaker – Jochen Schmeckenbecher Three Ladies – Alexandra Lowe, Hanna Hipp, Stephanie Wake-Edwards Two Priests – Harry Nicoll, Donald Maxwell Two Armoured Men – Alan Pingarrón, James Platt Three Boys – Rafael Flutter, Benjamin Jardim, Victor Wiggin David McVicar (director)Dan Dooner (revival director)John Macfarlane (designs)Paule Constable (lighting)Leah Hausman, Angelo Smimmo (movement) Royal Opera Chorus (chorus director: William Spaulding) Orchestra of the Royal Opera House Hartmut Haenchen (conductor) Images: Bill Cooper. (C) ROH 2021 David McVicar’s 2003 Magic Flute production is really starting to look—more to the point, feel—its age. When fresh and new, especially when conducted by Colin Davis, it had a winning sense of theatrical wonder. If it never tried […]
2019-11-04 20:57:09
Anglais - Some Stirring Performances in Die Zauberflöte at the Royal Opera House, Covent Garden
[…] ‘O zittre nicht, mein lieber Sohn’ the Ladies and three further cloaked figures sway with her to accentuate her presence, but the effect feels a little less overwhelming than it should. This contrasts with the excellent sound that Tuuli Takala produces, which sees her coloratura in this and ‘Der Hölle Rache’ reveal cleanness, subtlety and accuracy as she also demonstrates impeccable phrasing. Similarly,amusing though it is to see the two Priests (‘old hands’ Harry Nicoll and Donald Maxwell on typically good form) involuntarily jiving to Papageno’s bells in ‘Ein Mädchen oder Weibchen’, the spectacle detracts from us really engaging with Papageno’s sorrow. When this and ‘Papagena! Papagena! Papagena! Weibchen, Täubchen, meine Schöne’ are presented with less clambering into the audience and overt antics than in many productions, it seems a shame that an approach that seems to be geared towards us truly engaging with the bird catcher’s feelings is […]
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