Guildhall School presents an intriguing double bill of operatic rarities, featuring Ethel Smyth's Der Wald and Ottorino Respighi's Lucrezia. The presence of Wagner is palpable throughout these works, with both scores benefiting from the master's influence on their musical language.
Der Wald, premiered in Berlin in 1902, is a dark and romantic forest inhabited by innocent lovers, set against a backdrop of social upheaval. Stephen Barlow's production transposes the story to 1950s North America, where Iolanthe, a pseudo-Valkyrie, arrives on a motorbike amidst denim-clad woodlanders. The cast delivers an energetic performance, with standout turns from Avery Lafrentz as Iolanthe and Seohyun Go as Röschen. However, the opera's climax feels underheated, partly due to the orchestra's lack of polish and amplitude.
In contrast, Respighi's Lucrezia proves a more compelling work, embracing extremes of harshness and beauty through its score. Wagner's influence can be seen in the twin filters of Puccini and Strauss, which lends a sense of drama and tension to the opera. The production places the shocking plot within a modern US courtroom setting, where Gabriella Giulietta Noble shines as La Voce, providing commentary on Lucrezia's ordeal. Manon Ogwen Parry and Hannah McKay deliver powerful performances as Venilia and Lucrezia, respectively.
Ultimately, both operas showcase the enduring influence of Wagner's music, albeit in different ways. While Der Wald may benefit from a more refined orchestral performance, Lucrezia proves to be a standout work that argues for its inclusion in our operatic canon.
Der Wald, premiered in Berlin in 1902, is a dark and romantic forest inhabited by innocent lovers, set against a backdrop of social upheaval. Stephen Barlow's production transposes the story to 1950s North America, where Iolanthe, a pseudo-Valkyrie, arrives on a motorbike amidst denim-clad woodlanders. The cast delivers an energetic performance, with standout turns from Avery Lafrentz as Iolanthe and Seohyun Go as Röschen. However, the opera's climax feels underheated, partly due to the orchestra's lack of polish and amplitude.
In contrast, Respighi's Lucrezia proves a more compelling work, embracing extremes of harshness and beauty through its score. Wagner's influence can be seen in the twin filters of Puccini and Strauss, which lends a sense of drama and tension to the opera. The production places the shocking plot within a modern US courtroom setting, where Gabriella Giulietta Noble shines as La Voce, providing commentary on Lucrezia's ordeal. Manon Ogwen Parry and Hannah McKay deliver powerful performances as Venilia and Lucrezia, respectively.
Ultimately, both operas showcase the enduring influence of Wagner's music, albeit in different ways. While Der Wald may benefit from a more refined orchestral performance, Lucrezia proves to be a standout work that argues for its inclusion in our operatic canon.
I gotta say, I'm loving how these operas are pushing boundaries with their unique settings. Like, who wouldn't want to see Wagner's influence in an American courtroom? It's wild to think about the original Der Wald being performed in 1902 - what a different time and place. But for me, Lucrezia is where it's at. I love how Respighi's score just goes all out, you know? The contrast between beauty and harshness is crazy compelling. Plus, the modern setting really highlights the drama and tension of the plot. It's not always easy to see opera as more than just 'classic' stuff, but I think that's what makes these productions so great - they're proving that there's still a lot of life in this art form! 
just saw the review for the Guildhall School's double bill... 2 opers featuring Ethel Smyth and Respighi 
both are super dark and gritty, sounds like they'd fit right into a dystopian sci-fi movie 
Der Wald is kinda meh tho, only good part is Avery Lafrentz as Iolanthe 
but Respighi's Lucrezia is straight fire 
Manon Ogwen Parry and Hannah McKay are total standouts 
anyway, the Wagner influence is super noticeable in both works... just a shame they didn't polish up Der Wald more 
.
. And that modern courtroom setting? Genius move! It added so much drama to the story 
. Overall, I'm giving this double bill two thumbs up 
.
and gabriella Giulietta Noble as la voce was so powerful 
anyways u gotta check out lucrezia if ur an opera fan!!!
. I mean, Der Wald's climax did feel a bit...underwhelming, like they ran out of steam 
. But then you got Lucrezia, which is like a commentary on our justice system and how we treat women 
. It's like they're saying, "Hey, just because it's an old opera doesn't mean we can't make it say something new about the world today 
." And I think that's what makes Lucrezia stand out - it's not afraid to tackle tough subjects and push boundaries 
. the production of lucrezia is really well done, especially with gabriella giulietta noble's performance as la voce 
. what do you think about the way they're presenting these operas to a modern audience? should old works be reimagined for new times or left to stand on their own? 
Manon Ogwen Parry and Hannah McKay had some seriously intense moments as Venilia and Lucrezia... I could feel the drama! And don't even get me started on Gabriella Giulietta Noble - her commentary added this whole new layer to the story 
On the other hand, Der Wald just felt a bit... lacking 
. But, I gotta say, the 1950s US setting for Der Wald felt a bit off to me - it's like they took all this British music hall flair and chucked it in a blender with some American diner vibes... Not sure it fully landed, but Avery Lafrentz as Iolanthe was on fire 
. That score had me swooning - so intense and dramatic, like something from a Max Schreck vampire flick 
... And that courtroom setting? Genius! Gabby Noble as La Voce was perfection, pure perfection 
I just watched this double bill at Guildhall School and I'm still reeling! 
Anyway, if you haven't checked out Guildhall School's production yet, you gotta! Trust me 
. And then there's Lucrezia, which is just insane 
... I mean, who doesn't love a good dose of 19th century German opera? But seriously, Guildhall School's double bill was actually pretty cool! I loved how they reimagined Ethel Smyth's Der Wald with that motorbike scene - totally unexpected. The cast did an amazing job too, especially Avery Lafrentz as the pseudo-Valkyrie chick... I mean, who wouldn't want to be a woodland warrior on a motorcycle? 
On a more serious note, Respighi's Lucrezia was pretty stunning, and I loved how they incorporated those Puccini and Strauss vibes. It's crazy to think that some of the same music is influencing operas today! 
and i love how they've transposed it to 1950s north america - that motorbike entrance tho 