Read what our audiences thought of Cav & Pag
Review from Framescourer
Richard Jones is a director who likes to tip opera on its head to really get at it's heart. He's a bit like the playground bully who holds the small boy by his ankles until the dinner money falls out of his pockets - only to pick up the cash and give it back to him: 'See, look how much you had all along!'.
The big achievement of the evening though (and, frankly, it's colossal) is the conducting of ENO Music Director Edward Gardner. Seeing Cav & Pag hadn't prepared me for this. He doesn't so much nail the score as build an entire Dacha from scratch. This is world-class conducting, organic and assured, dredging great pathos and narrative lyricism from the pit alone
Review from E. S. Tweedlie
I travelled down from Scotland on Thursday 23 October to catch Cav and Pag on the Thursday and Partenope the following evening.
The Thursday was very much a curate's egg, good in parts. I felt that the orchestral playing was very fine, with Edward Gardner coaxing some glorious sounds from the pit; verismo affords many opportunities with its big emotional tunes, and these were seized with both hands. The lead roles in both operas were in the main excellently handled, with in particular Peter Auty a convincing Turiddu with genuine Italianate tone;an outstanding Prologue from Christopher Purves and an expressive, emotional and beautifully sung love duet from Mary Plazas and Mark Stone were also real highlights. However,both productions in my view had important weaknesses. I found the translation employed in Cav insipid to the extent that it detracted from the dramatic impact of many of the key moments. For example, Santuzza's climactic 'Io son dannata' was represented by the anodyne 'You have damned me';other underpowered infelicities were 'he has made you a cuckold', and Santuzza's spine-chilling Easter curse on Turiddu being reduced to 'a bitter Easter.' The set was claustrophobic, and there was little sense of a hot Mediterranean sun inflaming passions. I also saw little point in the Italian words for flour, rice etc. painted on (presumably) the shop walls when the piece is being sung in English.
In short,sound musical values were in my view undercut by a disappointing translation and a questionable set. My issue with this production of Pag was that I do not believe that the kind of play within a play put on by the players is supported by the music Leoncavallo wrote. He uses minuet and gavotte, perfect for Commedia dell Arte, but not for the kind of crude bedroom farce portrayed in this production. The discrepancy between the atmosphere of this form of the play within a play and the fierce emotions of the actors is too great, rendering the conclusion unbelievable and depriving the piece of its tragedy. The audience should leave the theatre feeling for the protagonists; I didn't. And what was the reason for making the murder weapon a pistol, for killing Silvio/Woody before Nedda/Nelly, and for the suicide of Canio/Kenny? As with Cav, I feel good musical values were compromised by a capricious production.
Partenope benefited from an impressive ensemble;Rosemary Joshua,John Mark Ainslie,Christine Rice, Patricia Bardon, Iestyn Davies and James Gower all made light of the considerable vocal demands of Handel's music, despite at times being required to indulge in overfussy and seemingly unnecessary business.However,the overwhelming feeling was that the cast were enjoying themselves, and this was relayed to the audience. While the Man Ray aspect seemed a bit arbitrary and contrived, good support from Christian Curnyn and the orchestra, and a punchy translation made this production sparkle. First class singing and playing and a sense of fun made my journey worthwhile, and I would consider a similar pilgrimage in the future.
Review from Paul
"Cav & Pag" always promises a treat, but this production only half delivers. The first part of the evening is hugely disappointing, but it is more than made up for by a really memorable second half.
The Mascagni is poorly directed with much of the libretto simply not making sense in the new setting, which is miserably squashed at the front of the stage. (For instance Santuzza asks Turiddu to stay and not to leave just after he has comfortably sat himself down with a bottle... and the references to church are completely lost). And costumes? Turiddu is meant to have all the girls running after him, so dressing him like Tweedledum is not going to convince anyone. Worst of all, though, was the music, which had all the subtlety of a ten year old who had just learned it banging it out on a piano. The Easter hymn was only saved by Santuzza, and (I know we shouldn't, but we can't help waiting for it) the intermezzo was harsh, strident and actually unpleasant to hear, which is quite a feat. Somewhere in a grave in Livorno, Mascagni is spinning. What a contrast after the interval. It was almost as if the director thought "now the mascagni is over and done with, we can get on to the real stuff". From the start there was a delicious feeling of doom. The setting worked really well, and the orchestra suddenly woke up and gave of their best. When Canio sang "vesti la giubba" the bitterness and pain in his voice was incredibly moving; that single moment was more than worth the price of admission on its own. The finale was brilliantly staged and completely convincing.
All in all it was a worthwhile evening; I just wished we had lingered over our meal and turned up during the interval...
Review from Jane
I went to see Cav & Pag last night, and had a great evening out. The music was so beautifully played and sung, in the main for Cav, that I almost totally forgave the set and rather clumsy translation, which didn't match the action - lots of "go, then!" and no-one moving, and Santuzza not being able to go into the cafe was puzzling.. usually, it's set in a square and she can't go into church, so that makes more sense. A couple of wooden performances didn't help - this is heightened stuff, and the histrionics fit the music, so go for it! I'm sure that the set was meant to indicate the stifling nature of the community, but the chorus just looked cramped, and there were a few instances of people just wandering around with no sense of purpose. Peter Auty as Turiddu was wonderful, and really seized the role. The death was onstage but unseen, and the awful callousness of it and the way that the village men treated Lola was brutish and very effective. So, a victory for Mascagni, I'd say.. Then, we saw where the money had gone, with Pagliacci! The sets were wonderful, particularly when the stage was split and we could see the audience for the play within a play, whose reactions were wonderful. Mary Plazas was outstanding at Nelly, and I really felt that the whole concept worked. Richard Jones did a great job, although the stars for me were the orchestra and Edward Gardner.
Review from CDC
Absolutely fascinating reading the range of reactions to the current Cav/Pag production. I've been coming to ENO for the best part of 30 years but had never actually seen this double bill before. Maybe some of the more recent ENO offerings (Kismet/Candide/On the town)have inured me to the 20th century versions of 19th century operas, but I found both versions very appealing. The orchestra was wonderful, as ever, and I was particularly struck by how much purely orchestral music there as a proportion of Cav.
The singing was excellent, although Alfio's first section was unimpressive, he grew in his later appearances and the voice filled out. Having him sing facing the back and under a roof didn't help the projection.
Not having seen the 'traveling circus' version of Pag, the theatre setting worked for me, although the long scene change disrupted the flow and people in side seats would have felt short changed by the scene in the dressing rooms. The last section, however, was excellent and the audience (chorus) reaction to the unfolding tragedy was masterful...but why don't audiences hold their applause until THE END. It really spoils it when they cover the last bars of music with clapping - although maybe not as bad as when they do it in Act III of Boheme!
I will be back for more!
Review from Charles
Fine singing and strong chorus work but sets in both operas that were too fussy and cumbersome that provided more problems than they solved. The updating of Pagliacci to a seedy 1950s/60s theatre setting didn't quite work although initially it felt like a welcome shake up to an old warhorse.Although both pieces have an overheated, small canvas the music is on a far more open and grander scale so I think a less cluttered stage would allow the singers greater freedom of action and the chorus would be less cramped.
Review from Michael
When I last saw Cavalleria Rusticana about 40 years ago I was struck by the spaciousness of the set (a village square with the Church at the back), the beautiful intermezzo, like the eye of a storm, all the more poignant by being played to a large emptiness on stage, and the death at the end which was, Greek style, off-stage. In all three respects I was disappointed.
The set resembled a cross between a transport cafe and a disused warehouse, which cluttered the stage and thus reduced the magic of the intermezzo - which was further reduced by a character appearing before it had finished, and the death occurred on-stage.
The music itself saved the day. Taut, descriptive scenes accurately describing the mood and character of rthe players, particularly the coquettishness of Lola. The orchestra started rather tentatively but improved rapidly. The singing was, as always of a high standard. Despite the set, it was a satisfying evening.
A major problem with Pagliacci is how to project on stage a play with an audience facing each other and yet both facing the auditorium. This was solved with delightful inventivenes by having both facing the audience on a divided set and neither facing each other. The Touring Company played in a large theatre rather than their portable tent, which involved four sets (as opposed to Leoncavallo's one) but together with the anglicized names, ennhanced the atmosphere.
Christopher Purves is always a delight to hear and see. He, together with Geraint Dodd, kept the action alive throughout. Again the finale was a let-down. Why were Nelly and Woody shot and not stabbed? And why did Kenny shoot himself as well(not in the script)?
Review from Nelly
I went with a great expectation after having read the previous build up of this forthcoming production, so I'll go straight to the point. I thoroughly enjoyed Richard Jone's fresh take on this double bill of Cav and Pag.
Cavalleria Rusticana opens with the setting of Mama Lucia's Taverna...we are inside at last! Rather like flies on the wall, we observe the comings and goings of ordinary village folk preparing for their Easter Day. But, it is also as though we are hiding in the shadows of the back ally watching clandestine meetings, and are sucked into the simmering drama of relationships about to unravel. It is austere, and there's not much light, but I spotted a pair of rabbits (or maybe Hares) hanging in La Mama's Cucina, ready for the feast to come.
At all times the orchestra underpins the action very subtly and flexibly, sensitive to the demands of their singers. This fine cast portrayed their characters with such clarity and honesty and sang most beautifully, taking us on their journey.
Here is a small village community suffocating under the stultifying claustrophobic influence of the church. There is no room for unmarried mothers.
The atmosphere is enhanced by subtle lighting and pale tones which add to the rising tension, and this makes the final act seem all the more shocking. Even Turiddu's drinking song, usually delivered with jolliness to cheer things up, has the villagers smouldering in disgust as, he of all people, Son of Mama Lucia and therefore should know better, is behaving appallingly. He is drunk, but not the friendly over indulged celebratory drunk. No, this is an altogether nastier drunk, symptomatic of something deeper. That is reality.....VERISMO! (Marvellous)
The switch from Cav to Pag was inspired; highly origanal and very witty....loved it!
Pagliacci Here we are in an altogether different place; though small town attitudes could be common to both operas.....It is a small provincial English town up North, bright Neon lights, tacky glitz....60's era. All the action takes place inside a Theatre, but we start off outside where queues of punters are waiting expectantly to catch a glimpse of their favourite celeb.(Retro chic, shaggy coats and anoraks!) What a ball the costume department must have had!
Inside the Theatre, we observe the internal ructions that are just starting and relationships on and off the stage are beginning to unravel.Will Nelly leave Kenny for Woody? And why does Tony stalk Nelly from the shadows?
The story unfolds for the final Act and with clever trickery leaves you breathless with the sheer audacity of it! There's nothing like a good domestic thriller to pull in the punters!
As always, Ed Gardener leads his orchestra through the Tempest ahead, underpinning every word and subtle nuance that had me sitting on the edge of my seat, whilst this stellar cast drew us along their journeys with some beautiful singing coupled with clever and funny slapstick comedy. Here again, wonderful story telling....and utterly superbly sung.
I must admit, I thought twice about whether to come or not...I have to make a 4 hour round trip by Train to do so...and I can honestly say I made the right decision to come. I felt uplifted by the sheer committment, power and beauty of everything that I saw and heard. This was an imaginative and witty piece of Opera Theatre. Well done and Thank you ENO.Keep them coming.
Review from John
Reporting on the performance on 7th October: Great evening musically; Pagliacci production was on the whole good but "Cav" left a lot to be desired!
Firstly "Cav" negatives: what bothered me most with Cav was the set (I'm sure all readers will now know that it was set inside an Italian cafe rather than in the square) and the inconsistencies that came as a result. So, why couldn't Santuzza go into the cafe? She went in it later! Turridu saying he must leave while sitting on a chair showing no urgency in leaving at all. There just didn't seem to be much "joined-up thinking" as far as text, setting and action was concerned.
Generally, I thought the "Pag" set worked really well - and the various locations were set nicely; however, it did necessitate a lengthy break (I didn't time it - maybe 5+ minutes) before the "play within a play" section and it really broke the intensity and tension that had been built up (I thought - and hoped - we'd seen the end of long "intervals" for scene changes - at least at ENO! The final few moments didn't quite "work" for me either - it just didn't seem believable!
But musically - it was a stunning evening, with hardly a weak link in the cast and the chorus and orchestra were both on top form! Not easy to pick out the "stars" in what were two ensemble performances, but Jane Dutton rang out stunningly as Santuzza; Peter Auty sang Turridu with intensity; Mary Plazas gave a completely rounded performance with great acting and singing (when does she not?) and Mark Stone's Silvio was awesome. The biggest ovation at the curtain calls was for Edward Gardner - which was richly deserved. He led an evening of rich musical distinction, and brought new insights into the music which I hadn't heard before!
Overall: 5/5 for music 3/5 for production
Review from Peter
CAVALLERIA RUSTICANA For its sheer emotional impact on me, I would probably give this five stars, but the staging, while perfectly adequate, on reflection does not quite deserve that accolade. The opera was done in a kind of community hall, with 1930s dress, and the effect was to rather box everyone in, particularly in the chorus scenes. Perhaps this was supposed to convey the stiffling restrictions of the rural Italian community, but it also made some of the action hard to see from the balcony. This apart, this was 70 minutes of pure rapture. For once, the ENO had really powerful singers, including a stocky tenor and lead soprano that really belted out Mascagni's wonderful tunes. The only weak performer was Alfio, whose opening aria did not really reach us up on the upper levels. But even he picked up as the performance went on. As for the music, I loved it to death, and was in tears when Turiddu was saying goodbye to his stony-faced mother.
PAGLIAGGI It was apparent as soon as this opened why Cavalleria had such a simple set: they had spent all the money on the staging of this opera, which was sheer genius. The opening scene was outside a modern theatre, where TV comedians were appearing in a farce. Later scenes were inside the theatre, brilliantly recreated on stage, and for the final scene there was a split stage, so we could see both the farce and the audience. The updating of the setting was inspired - perfectly appropriate, because comedians on tour are the modern equivalent of strolling players, and accurately recreate in a modern setting the excitement that the locals in an Italian village might feel when the pagliacci come into town. It also highlighted the contrast between the chirpy public image of Tonio (who was called something else here) and his nastier real life character. For once too the English translation really worked. Canio became "Mr Paxo" and so "Ride, Pagliacci" became "Laugh, Mr Paxo".
As for the singing, it was all good, but particularly the opening prologue, delivered by "Tonio" in front of the curtain. The only place the opera lost me was towards the end, when Mr Paxo loses control in the farce and murders his wife and her lover. I wasn't entirely convinced by this dramatically, but whether it was the performance, or the fact that the split stage muffled the sound a bit, or whether it was that after the sheer power of Cavalliera's climax, this was a bit of a disappointment, I do not know. But in the end five stars for the staging, four stars for my experience of it
Review from Joan
After almost thirty years of opera going, both in the UK. and abroad, to both traditional and modern interpretations, this was undoubtedly the very worst evening I have ever spent at the opera. Who on earth wants to go to hear beautiful music and talented performers degrading their art in such crass, vulgar, and crude productions. Sorry, ENO, that is positively the last time I shall buy a ticket for any of your future events. If it was not so painfully obvious that you are short of funds to do opera properly, I would request my money back under the Trades Description Act. This was NOT opera as we faithful operagoers know it and was insulting to the composers and the audience. I am just not clever enough to see your point and will in the future opt for beauty, elegance and refinement in my choice of opera . My advice to prospective audiences would be, stay at home and watch Big Brother or Eastenders, this Cav and Pag is at the same gutter level. Quite hideous!
Review from Andrea
Cav & Pag........ I'd had very high expectations - and once again they were exceeded!
Cav is probably one of my all-time fave operas. Melodrama... intensity... passion... ravishingly voluptuous music and a spot of religion thrown in for good measure. What's not to love?! The staging - a big box right in the middle, very often filled with the entire chorus packed in like sardines - gave it a sense of claustrophobia and focus, however, that I found unique to this particular production, which somehow made the whole thing edgier, pushing it out of my own personal comfort zone.
Pag - in contrast - has always been one of my least favourite operas. In fact the whole notion of the Cav/Pag double bill has always been a pleasure/pain dichotomy for me: I adore the former, and am wholly unmoved by the latter!
The tragi-comic "tears of a clown" idea is such a cliché that I've always found it hard to find much in this opera to appreciate or sympathise with, even the heartfelt sobbing in what is the best known aria in the entire work. So I can't say that I was looking forward to the second half with undiluted enthusiasm.
The somewhat surreal atmosphere of the second half had been given its kick off by the curtain rising on what appeared to be the final encore curtain call of the cast in Cavalleria Rusticana - a clever little trick that set the tone for the cleverness of what was to follow.
And I found myself sitting through the entire thing utterly drawn in by the bright, vivid ingenuity of the staging. It was all just wonderful, even down to the bright blue of Tony's hideous suit against the dayglo orange curtain, and the "Carry On" flavour of the play-within-a-play. And the translation! Sarcasm... slang... swearing... three much-maligned facets of the English language which transformed this opera - for me at least - from dull banality into something sinister, outrageous and sparkling.
I didn't know whether to laugh in amusement or gasp in shock; I did both! If that's not the true test of tragi-comedy, I don't know what is. And seeing Paxo's brains blown out all over the weeping Pierrot painting was the icing on the cake!
Thanks for a tremendous afternoon!
Review from Jean
It is with much regret that I write my review. Having seen Cav and Pag yesterday afternoon, my husband and I feel they were the worst two ENO productions we have seen in 18 years of regularly supporting Coliseum productions. Cav was dull to look at, the set being boring and colourless. Chorus work was samey and the saving grace was thankfully the music. Pag was a great disappointment - an unnecessary send-up, losing a lot of the original feelings which the composer meant to convey. Having read one of the earlier reviews from someone new to opera, it amazes me that having never seen an opera before, it was thoroughly enjoyed. What wonderful past productions have been missed! On our way out, so many other audience members were voicing their disappointment over the productions. This will be the last year we will be supporting the ENO as this whole year's productions have been disappointments.
Review from Jonathan
Cav & Pag ; We should start by saying that the singing of both principals and chorus and the orchestra ( in particular) were splendid , What a pity about the production . As a member of the audience behind me in the upper circle ( a good monitor and sound position ) said 'well I wn't be coming to see that again '.
Cav first . This is usually set outside the Church in a southern Italian town , where this edifice always fronts on to the piazza and the easter hymn, sung by the devotionally inspired townsfolk , is a vital part of the drama . In this production the Director , the highly over rated Richard Jones, decides to have the action constricted by in room at the front of the stage - a sort of workers caf , into which the entire chorus at different stages , enter and exit with difficulty and in which they sing the Easter hymn - whilst being reminded that they ought to be in church. The drama of the wronged girl and the reprobate son is also lessened by running around outside the room - which is all a bit distracting,. A pity that Jones' 'new interpretation ' is so limited -in thought and space .
Now to Pag . What a good idea -a mis en scene in a northern town with a visiting 1960's variety troupe with Pag as the ageing leader and the show as the scene for the sexy knockabout farce which preludes the tragedy of deceit and betrayal. Colourful , well acted , well sung and with a brilliant 'interpretation' of the 'I Pagliacci ' aria as poor old Pag sits in his dressing room agonising alone , while the other cast members prepare in their own isolated cubicles alongside. But then an eight minute wait to change the scene to a smart idea - a stage audience seated on one side with the the stage set on the other where the drama acts out .
Firstly the unexplained wait completely drains the tension from the aria scene before and secondly the stage audience oparticipation is parallel to the action and loses involvement -particulary when it restricts the 'stage ' space available and ,for example , makes for clumsy cramped moves , like the lover's attempt to rescue his amour as the vengeful Pag kills her -and then him . Good idea -not fully realised in the detail and trying to be too clever in set design.
One final thing ; Why are the librettos so clumsy and un-poetic ? Whoever writes them clearly has a rhythmic block . The difference is between 'I will see you tomorrow ' prosaic and ' tomorrow , I will see you ' . Clumsy sometimes silly words - such as the fortunate status of a man who has a lorry , in Cav . And why oh why does the Director need to descend to 'fucking; repeated several times by Pag as he becomes more passionate and enraged ? I know they think it is s smart joke to have the stage audience remove their children at this point , but really, does this wonderful musical drama have to include such crassness to make it 'up to date ' if that is the pathetic intention ?
Cav 4 /10 ; Pag 7/10 but must try harder to be consistent
Review from Clive and Pam
Three of us attended last Sunday's matinee of Cav & Pag. I'm afraid we were all very disappointed with the production of works which are not performed very often. It seemed to us to be a calculated insult to the composers/librettists and the performers. It was taking verismo too far. As your programme notes say, verismo lies in the reality of the music. Cavelleria might have been just about acceptable if you couldn't afford anything better in the way of a set but Pagliacci was not even clever or amusing; it was simply crude and vulgar. As a writer said in 'The Times' some years ago of these Polymorphously Perverse Productions (including one of your own staging) those directors, dissatisfied with their proper status as interpretative artists on the same level as conductors and singers, have decided to consider themselves creators alongside the composers. Not much has been learned since. We sympathise with the singers and orchestra who generally did very well in spite of this farrago. Having paid top price for our seats, we would have been better off just buying CDs. If this goes on it will be a case of "Goodbye ENO, you shall not be seeing us again".
Review from Robert
The current production of 'Cav and Pag' is a mixed bag. The 'Cavalliera rusticana' is dire - poorly conceived, poorly staged, and poorly acted though musically satisfactory. It was rather like an embarrassing production in a village hall, with the audience sniggering at some of the amateur histrionics. Not surely what was intended. At its end the generous audience gave it sporadic applause, more muted in the additional quite uncalled-for curtain call after the interval. Where we sat a number of seats had emptied after the interval, which was a pity for the 'Pagliacci' was a wonderful production and well worth the price of the ticket.
Review from Jacky
Just saw the Sunday 28 Sept 3pm peformance of Cavalleria rusticana and Pagliacci and wanted to say thank you so much for such a wonderful, absolutely enthralling afternoon - I loved every minute of it.
I haven't been to an opera before but saw an advert for this season's ENO productions on the underground and chose this one to come and see and I couldn't have asked for a better way to spend any day.
Again, thank you so much to everyone who made me completely lose myself into the emotions of it all and believe and feel through their performances and the production.
Review from Aidan
The new productions of Cav and Pag left me thinking that I should keep to concert performances in the future. The mis-match between the music of the 1890's, inspired by the librettos of the time with their settings of a public square with a church in a Sicilian village on an Easter day (Cavalleria Rusticana) and a village in Calabria on the Feast of the Assumption, about 1865 - 1870 (I Pagliacci), and the current small village hall/Brian Rix productions (the song-birds confined to barracks evidently) left me wondering why the operatic luminaries don't go the whole hog and engage pop-group composers to reinvent the music itself. Try to keep some of the tunes but simplify the harmonies and rhythm such as to kindle the interest of present-day audiences (are we really so crass?); and re-orchestrate, of course, for keyboard, guitars and perhaps a violin or two and use pop-group singers in their droves. The performances could then be transferred to Wembley or Glastonbury with an audience of 28,000. No need for Government money and the Coliseum could be used for something else.
Review from Frankie
Cav/Pag Cav, unutterably dull design. Pag, quite lively. Note, no comment on the singing/music. It would be unfair of me to do so because it was so over-amplified I had my ears covered much of the time,as had a man in the row in front. Does ENO management think we're deaf or is it drive to make us so? I noticed the blast in a couple of productions at the end of last season and emailed the ENO to point it out. I didn't get a reply. Maybe comments from people who can afford only balcony seats don't matter. I have tickets for most of the productions in the current season and will attend at least part of the performances. If I don't notice a reduction in the noise level I won't rebook. I enjoy listening to opera and plan to take care of my hearing so I can continue to do so.
