John Gay's ballad opera 'The Beggar's Opera' is a lot of fun and it is no wonder it's popular with most, the dialogue, music and characters are all great. Benjamin Britten's radically different but enormously enjoyable and melodious, an ingenious and often brilliant modern re-imagining that shows the composer's individual treatment of folk-songs, version is also well worth it as well.
It is the Britten version that's performed here, and while it sadly is not complete with some cuts mainly to the dialogue it is evidence of why it deserves to be performed more often. The opera, as written by Britten, has gained more exposure and it's easy to see why. It may not be for everybody and it would help if you liked Britten's music (that is certainly the case with me), but, while acknowledging that that will be the case, since performing as part of the troupe last month in the Conservatoire's production of it while not one of my favourites part of me can't help be fond of it.
This is a marvellous gem of a performance, even with technical limitations (covered brilliantly by all involved, like with Janet Baker and Kenneth McKellar dealing with the curtain, a true example of charming spontaneous professionalism), a slightly cramped space and not being complete.
Production values are simple but effective, while the dialogue delivery is intense and lively, all getting deep under the skin of the text and making it comprehensible. The storytelling is clear and concise, even the exposition-heavy first act, and the drama/stagecraft is cohesive and a lot of fun with some dark moments too.
Musically, the production is absolutely outstanding and near-faultless. It's beautifully performed by the orchestra, with the right amount of vigour, intensity and nuance, and the conducting is alert and sympathetic in equal measure.
Nor can one fault the performances, with a sincere, tongue-in-cheek and delicate Janet Baker as Polly (as well as exquisitely sung) taking top honours. Kenneth McKellar's virile Macheath and Heather Harper's vocally gleaming (for a role written very high up in the voice), vengeful and sometimes touching Lucy (who can resist the way she spits out "rrrat" when introduced to her) not far behind.
Bryan Drake sings Lockit with sonority and acts with great menace, while Anna Pollak and David Kelly are acid-sharp in characterisation as the Peachums. Joan Edwards has a suitable dark temperament for Jenny and Edith Coates enjoys herself as Mrs Trapes.
Overall, a marvellous gem. 9/10 Bethany Cox
It is the Britten version that's performed here, and while it sadly is not complete with some cuts mainly to the dialogue it is evidence of why it deserves to be performed more often. The opera, as written by Britten, has gained more exposure and it's easy to see why. It may not be for everybody and it would help if you liked Britten's music (that is certainly the case with me), but, while acknowledging that that will be the case, since performing as part of the troupe last month in the Conservatoire's production of it while not one of my favourites part of me can't help be fond of it.
This is a marvellous gem of a performance, even with technical limitations (covered brilliantly by all involved, like with Janet Baker and Kenneth McKellar dealing with the curtain, a true example of charming spontaneous professionalism), a slightly cramped space and not being complete.
Production values are simple but effective, while the dialogue delivery is intense and lively, all getting deep under the skin of the text and making it comprehensible. The storytelling is clear and concise, even the exposition-heavy first act, and the drama/stagecraft is cohesive and a lot of fun with some dark moments too.
Musically, the production is absolutely outstanding and near-faultless. It's beautifully performed by the orchestra, with the right amount of vigour, intensity and nuance, and the conducting is alert and sympathetic in equal measure.
Nor can one fault the performances, with a sincere, tongue-in-cheek and delicate Janet Baker as Polly (as well as exquisitely sung) taking top honours. Kenneth McKellar's virile Macheath and Heather Harper's vocally gleaming (for a role written very high up in the voice), vengeful and sometimes touching Lucy (who can resist the way she spits out "rrrat" when introduced to her) not far behind.
Bryan Drake sings Lockit with sonority and acts with great menace, while Anna Pollak and David Kelly are acid-sharp in characterisation as the Peachums. Joan Edwards has a suitable dark temperament for Jenny and Edith Coates enjoys herself as Mrs Trapes.
Overall, a marvellous gem. 9/10 Bethany Cox
