REVIEWS
Here is a selection of unsolicited reviews of our productions
La Traviata
Preston Opera staged four performances of Verdi’s La Traviata at the Charter Theatre from 20th 23rd March 2013. I watched the third performance, in which the tenor Richard Belshaw sang the part of Alfredo for the third time on consecutive nights – no mean feat; especially as he was due to sing the following night as well. His performance was splendid, both vocally and dramatically. His lover, the Courtesan Violetta, was also very well sung by Louise Geatch, but it was her portrayal of the part which I found particularly good – her performance of the final scene was the most heart-rending I can recall. Germont, sung by John Brice, making his debut for the Company, was excellent – both beautifully sung and acted. His pacing of the great Act 2 duet with Violetta, followed by his pleading with Alfredo was one of the highlights of the evening. The supporting roles were also well performed, notably the Flora of Joanne Bruce, a young singer we shall certainly hear more of in the future. I was also pleased to see Geoff Hitchen in the cast as the Messenger, as he was on in the cast of Preston Opera’s last Traviata - thirteen years ago! Marie-Louise Lane , who sang Violetta on Thursday and Saturday, was also the Violetta thirteen years ago – a production which I had the honour of conducting. The chorus, always an important part of Verdi’s operas, were on wonderful form after a slightly shaky start. The producer, Diane Mackley, is to be congratulated on an imaginative production – the bold idea of setting the action just before the First World War worked splendidly. The idea of using female dancers from the Heather Fitchett School of Dancing to act as Toreadors in the second party scene also came off extremely well. The 26-piece orchestra played splendidly under their conductor Colin Beeson, and it was a joy to hear such a rich violin tone.
-- David Sutton
******************************************************
As I understand it, everyone in Britain in the nineteenth century either died of French musket fire, Consumption ,or Martian heatray, and La Traviata, perhaps Verdi’s most accessible opera, concerns itself squarely with the second of the three.
Despite the subject matter, the whole evening was a wonderful surprise, as this was the first time I’d seen Verdi’s masterpiece in the flesh, so to speak. I was expecting to sit and pick my way through the program and decipher what I could of the Italian libretto, so was very pleasantly surprised to find the opera being performed in English. While I do tend to find Verdi’s music rather light and overstocked with decoration, it was performed exceptionally well by the 26 – piece orchestra, conducted with passion by Colin Beeson.
Each and every single member of the ensemble cast performed brilliantly throughout, and I was impressed to see just how many members of the cast there were in the group scenes. I didn’t spot a single actor being used twice, even in background roles.
That said, the three standout performance came from each of the lead roles – Louise Geatch, Robert Driver (Richard Belshaw in fact, PO web site manager), and John Brice as Violetta, Alfredo, and Giorgio. All three were absolutely compelling to watch, and my attention didn’t drift for a second.
Reading through the program in the pub afterwards, I was staggered to read the company Chairman mention that it’s an amateur production - admittedly it’s on a smaller scale, but this was up there with some of the bigger professional productions I’ve seen.
All in all, everyone concerned with this should be rightly proud of themselves. This was one of the best nights I’ve had for a while, and I can’t recommend it enough to lovers of Opera.
-- Lancashire Evening Post
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There could not have been a better way for Preston Opera to commemorate the 200th anniversary of Verdi’s birth than to present this spectacular full-scale traditional production of La Traviata. From the haunting and captivating overture the dramatic, emotional music is played by the Preston Opera Orchestra under the expert direction of Colin Beeson.
First performed in Venice some 160 years ago this is a spellbinding story based on Alexander Dumas’ La Dame Aux Camelias which tells of a young woman he once loved.
Congratulations to Diane Mackley for stylish direction and to the wardrobe team for providing lots of colour and elegance. The sets for the four scenes were stunning and the energetic chorus and cast were mesmerising.
Violetta is the doomed heroine – a pretty prostitute (or a common whore) - living in Paris just before the outbreak of WW1. Despite being the talk of Paris she is really a fragile specimen of womanhood made further so by her not being in the best of health.
On discovering that Alfredo is in love with her she settles down with him in the country. Alfredo’s father (a persistent without being evil portrayal by Chris Elliott) begs her to renounce his son for the sake of the family name. Violetta is eventually reluctantly convinced and sends a farewell note to Alfredo who is so furious that he denounces her in public.
Some months later, after Alfredo has discovered the truth about her having left him, he visits her to ask for forgiveness. All too late! Tuberculosis has taken hold of Violetta’s delicate body.
Marie-Louise Lane and Richard Belshaw were dynamic as the tragic couple, drawing the audience into their heart-rending solos and duets. The final harrowing scene where Violetta collapses dead in her lover’s arms is both shocking and brilliant!
A magnificent and passionate production!
-- Jenny Robson (freelance)
****************************************************************
Verdi’s La Traviata is one of my favourite operas and I have seen a few excellent productions of this piece so I was very interested to see this for the first time at The Charter Theatre. The opening scene was captivating, costumes, lighting and set giving the audience a taste of what was to come. Marie’ Louise Lane (Violetta) and Richard Belshaw (Alfredo) have beautiful voices and were engaging as the young lovers. They were in character throughout and ensured that the pace never faltered. Joanne Bruce (Flora) brought out the best from this small but important role. Her diction was excellent, I heard every word, so important in Opera where this is sometimes sacrificed in favour of “The Voice”. I have always admired Barrie Wright’s performances on stage and he made the most of the delightful cameo role of Dr Grenvil. Ladies and gentlemen of the chorus, so often ignored, played a major part in ensuring the success of this performance. The Orchestra of Preston Opera under the baton of Colin Beeson did justice to Verdi’s stunning music and apart from an occasional overabundance of sound were a perfect foil for those on stage. Set design and costumes were excellent and Director, Diane Mackley should be congratulated on providing us with an evening to remember.
-- Author: Eddie Regan NODA
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Aida
The Preston Opera production of Aida is little short of a triumph. I travelled up especially from London to see it, having heard reports of the contribution of Theresa Goble as an electrifying Amneris, who (as Daughter of the King of Egypt) dominates the opera, even more than Aida herself (daughter of the opposing King of Ethiopia, and now a slave) sung by Laura Hudson
In the story both are in love with the hero, Radames (Captain of the Egyptian Guard) portrayed with a warm, lyrical voice by James Lucjan Marczak, who apparently was making his operatic debut in this production. Egged on by her father, the Etheopian King (an excellent Chris Elliott), Aida seduces Radames into becoming a traitor, and he is sentenced to be buried alive in a crypt.
Aida sings throughout with an impressive range of tone and dynamic and creates a real personality for her role as a young, beautiful princess, and the contrast of her fresh soprano voice with Amneris’s rich, dark lower range is thrilling, though I was a little troubled by Aida’s insistent use of vibrato, something many sopranos seem to choose today.
But it is the scenes with Amneris that one remembers most, gloriously sung by Theresa Goble. She emerges as a beautiful, mature woman in the Act I scene in her apartments, and dramatically conveys her absolute dismay when she discovers Aida is her rival for the love of Radames. Later, when she pleads with Radames to renounce Aida and marry her, she sings very movingly indeed, promising him his pardon if he does so. She is devastated when he choses death instead. But Aida has already secreted herself in the tomb and the opera ends with the couple joining together in a glorious, soaring final duet when both singers really come into their own.
Throughout the performance the choral singing was really first class, and the ballet scenes, by the Heather Fitchett School of Dancing, had delightfully appropriate pseudo-Egyptian choreography. The Preston Opera obviously only had the resources to use a comparatively small orchestra. They played excellently (apart from a moment or two of doubtful intonation from the strings at the pianissimo opening of the Prelude) under the confidently vivid direction of Colin Beeson, whose tempi couldn’t be faulted. Moreover in the Grand March Scene two trumpets, two horns and a single trombone carried the day with aplomb. Indeed the principal trumpet, (Chris Andrews} deserved an accolade.
The production (Geoff Horton and Alan Mathews) was thoroughly professional, as was the direction. There was only one interval and the opera moved from scene to scene seamlessly. The costumes were imaginative, and the scenery itself, designed by Erica Matthews and Keith Taylor was magnificent, and imaginatively Egyptian. It was constructed by Ben Forshaw, Alan Matthews and Terry Martin, and I was told it took four days to assemble in such a way that each scene replaced its successor smoothly.
All-in-all a remarkable achievement!
By Ivan March
******************************************************************
TREMENDOUS show. Visually amazing and some fabulous singing! What tour de force to pull that off. The audience really enjoyed it, too. I told Bernie that I also thought the costumes were wonderful.
It was certainly a very ambitious production but I hope that Geoff, the Committee and Production Team are pleased with the result. You should all be delighted that you hard work and effort has paid off.
Best wishes
Diane Mackley
******************************************************************
Good morning Geoff. CONGRATULATIONS to you and all at Preston Opera for presenting and performing a production of Aida which ranks alongside the best of any previous productions the company has given over the last forty five years. It would be extremely churlish to offer any minor criticisms of such an enjoyable and entertaining evening. One feature worthy of particular mention is the set and the staging which is very impressive. Mentioning this does not in any way detract from the individual and collective efforts of the principals, chorus and orchestra. What a most enjoyable evening. Preston Opera is in rude health and good hands.
Sincerely, Lawrence.
******************************************************************
I couldn't let the event pass without a word of congratulations. I played viola with the orchestra and I must say I thoroughly enjoyed the experience. Colin is a great musical director. Hopefully the opera was a great success both as an event and financially. I am more than willing to play again if you require me to do so.
Once again, thank you and congratulations on a wonderful time.
Alexander Roe
******************************************************************
AIDA 27th June 2012
What a wonderful evening the Company provided last night and the response of the audience must have been most gratifying for all those involved in any way with the performance and production.
There may have been small glitches but overall the singing was splendid and back to the high standards of past years. The orchestra supplied a firm and reliable accompaniment and the principals must have been pleased with the support they received from the ‘pit’ with a resultant boost to their confidence. The dancers added an extra dimension and it is difficult to see how their contribution could be bettered. Their movements were so well coordinated and appeared entirely in keeping with the remainder of the actionWe always enjoy a production without gimmicks and do not readily accept arguments that the staging needs to be relevant to the 21st century. The writers knew what they were endeavouring to achieve and in our opinion their concept must be given precedence over any ideas of updating the action. This production of AIDA proves the validity of this point.The production was splendidly costumed and the stage sets were of the highest standard. The participants in a production never see the whole picture but the audience last night were able to watch one splendid picture follow another as the opera unfolded.All in all it was a great evening and this production must rank among the great successes in the annals of PRESTON OPERA. It was so encouraging to see a substantial audience on the opening night with even larger audiences guaranteed for the remaining performances and the comments of that audience were very favourable.Last night we enjoyed a wonderfully spectacular performance but DON’T relax your efforts. However, at the end of the week everyone should give him/herself a good pat on the back for a job well done.ELIZABETH AND BILL BORROW 28.6.12Please can you pass on my congratulations to the company regarding the
superb performance of -Aida. I was very jealous that I was physically unable
to be involved with the opera.
I did manage to speak to some people but felt that I should pass on both my
and Mike's comments to all.
The sets were superb and would have done a professional company proud. The ease
of movement from one scene to another were the best I have seen.
The production itself was very good with full use of the magnificent chorus
singing as well as the superb principals.
Well Done.
Regards
Barbara Butcher
******************************************************************
Just to say that we came up from Devon to see Aida on Saturday and thoroughly enjoyed the performance. The singing, the scenery and the orchestra under Colin Beeson were all excellent and we hope to come up again when you stage your next opera.
Regards
Barry Radford
******************************************************************
Please pass on our thanks to Preston Opera for inviting us to a wonderful production of Aida. The vocals, orchestra and sets were all outstanding and made for a memorable evening which we enjoyed very much.
This production is indeed a proud and fitting contribution to Preston Guild year. Congratulations to all concerned.
Kind regards
Colin and Margaret Clark
Mayor and Mayoress of South Ribble
La Traviata
Preston Opera staged four performances of Verdi’s La Traviata at the Charter Theatre from 20th 23rd March 2013. I watched the third performance, in which the tenor Richard Belshaw sang the part of Alfredo for the third time on consecutive nights – no mean feat; especially as he was due to sing the following night as well. His performance was splendid, both vocally and dramatically. His lover, the Courtesan Violetta, was also very well sung by Louise Geatch, but it was her portrayal of the part which I found particularly good – her performance of the final scene was the most heart-rending I can recall. Germont, sung by John Brice, making his debut for the Company, was excellent – both beautifully sung and acted. His pacing of the great Act 2 duet with Violetta, followed by his pleading with Alfredo was one of the highlights of the evening. The supporting roles were also well performed, notably the Flora of Joanne Bruce, a young singer we shall certainly hear more of in the future. I was also pleased to see Geoff Hitchen in the cast as the Messenger, as he was on in the cast of Preston Opera’s last Traviata - thirteen years ago! Marie-Louise Lane , who sang Violetta on Thursday and Saturday, was also the Violetta thirteen years ago – a production which I had the honour of conducting. The chorus, always an important part of Verdi’s operas, were on wonderful form after a slightly shaky start. The producer, Diane Mackley, is to be congratulated on an imaginative production – the bold idea of setting the action just before the First World War worked splendidly. The idea of using female dancers from the Heather Fitchett School of Dancing to act as Toreadors in the second party scene also came off extremely well. The 26-piece orchestra played splendidly under their conductor Colin Beeson, and it was a joy to hear such a rich violin tone.
-- David Sutton
******************************************************
As I understand it, everyone in Britain in the nineteenth century either died of French musket fire, Consumption ,or Martian heatray, and La Traviata, perhaps Verdi’s most accessible opera, concerns itself squarely with the second of the three.
Despite the subject matter, the whole evening was a wonderful surprise, as this was the first time I’d seen Verdi’s masterpiece in the flesh, so to speak. I was expecting to sit and pick my way through the program and decipher what I could of the Italian libretto, so was very pleasantly surprised to find the opera being performed in English. While I do tend to find Verdi’s music rather light and overstocked with decoration, it was performed exceptionally well by the 26 – piece orchestra, conducted with passion by Colin Beeson.
Each and every single member of the ensemble cast performed brilliantly throughout, and I was impressed to see just how many members of the cast there were in the group scenes. I didn’t spot a single actor being used twice, even in background roles.
That said, the three standout performance came from each of the lead roles – Louise Geatch, Robert Driver (Richard Belshaw in fact, PO web site manager), and John Brice as Violetta, Alfredo, and Giorgio. All three were absolutely compelling to watch, and my attention didn’t drift for a second.
Reading through the program in the pub afterwards, I was staggered to read the company Chairman mention that it’s an amateur production - admittedly it’s on a smaller scale, but this was up there with some of the bigger professional productions I’ve seen.
All in all, everyone concerned with this should be rightly proud of themselves. This was one of the best nights I’ve had for a while, and I can’t recommend it enough to lovers of Opera.
-- Lancashire Evening Post
******************************************************
There could not have been a better way for Preston Opera to commemorate the 200th anniversary of Verdi’s birth than to present this spectacular full-scale traditional production of La Traviata. From the haunting and captivating overture the dramatic, emotional music is played by the Preston Opera Orchestra under the expert direction of Colin Beeson.
First performed in Venice some 160 years ago this is a spellbinding story based on Alexander Dumas’ La Dame Aux Camelias which tells of a young woman he once loved.
Congratulations to Diane Mackley for stylish direction and to the wardrobe team for providing lots of colour and elegance. The sets for the four scenes were stunning and the energetic chorus and cast were mesmerising.
Violetta is the doomed heroine – a pretty prostitute (or a common whore) - living in Paris just before the outbreak of WW1. Despite being the talk of Paris she is really a fragile specimen of womanhood made further so by her not being in the best of health.
On discovering that Alfredo is in love with her she settles down with him in the country. Alfredo’s father (a persistent without being evil portrayal by Chris Elliott) begs her to renounce his son for the sake of the family name. Violetta is eventually reluctantly convinced and sends a farewell note to Alfredo who is so furious that he denounces her in public.
Some months later, after Alfredo has discovered the truth about her having left him, he visits her to ask for forgiveness. All too late! Tuberculosis has taken hold of Violetta’s delicate body.
Marie-Louise Lane and Richard Belshaw were dynamic as the tragic couple, drawing the audience into their heart-rending solos and duets. The final harrowing scene where Violetta collapses dead in her lover’s arms is both shocking and brilliant!
A magnificent and passionate production!
-- Jenny Robson (freelance)
****************************************************************
Verdi’s La Traviata is one of my favourite operas and I have seen a few excellent productions of this piece so I was very interested to see this for the first time at The Charter Theatre. The opening scene was captivating, costumes, lighting and set giving the audience a taste of what was to come. Marie’ Louise Lane (Violetta) and Richard Belshaw (Alfredo) have beautiful voices and were engaging as the young lovers. They were in character throughout and ensured that the pace never faltered. Joanne Bruce (Flora) brought out the best from this small but important role. Her diction was excellent, I heard every word, so important in Opera where this is sometimes sacrificed in favour of “The Voice”. I have always admired Barrie Wright’s performances on stage and he made the most of the delightful cameo role of Dr Grenvil. Ladies and gentlemen of the chorus, so often ignored, played a major part in ensuring the success of this performance. The Orchestra of Preston Opera under the baton of Colin Beeson did justice to Verdi’s stunning music and apart from an occasional overabundance of sound were a perfect foil for those on stage. Set design and costumes were excellent and Director, Diane Mackley should be congratulated on providing us with an evening to remember.
-- Author: Eddie Regan NODA
******************************************************************
Aida
The Preston Opera production of Aida is little short of a triumph. I travelled up especially from London to see it, having heard reports of the contribution of Theresa Goble as an electrifying Amneris, who (as Daughter of the King of Egypt) dominates the opera, even more than Aida herself (daughter of the opposing King of Ethiopia, and now a slave) sung by Laura Hudson
In the story both are in love with the hero, Radames (Captain of the Egyptian Guard) portrayed with a warm, lyrical voice by James Lucjan Marczak, who apparently was making his operatic debut in this production. Egged on by her father, the Etheopian King (an excellent Chris Elliott), Aida seduces Radames into becoming a traitor, and he is sentenced to be buried alive in a crypt.
Aida sings throughout with an impressive range of tone and dynamic and creates a real personality for her role as a young, beautiful princess, and the contrast of her fresh soprano voice with Amneris’s rich, dark lower range is thrilling, though I was a little troubled by Aida’s insistent use of vibrato, something many sopranos seem to choose today.
But it is the scenes with Amneris that one remembers most, gloriously sung by Theresa Goble. She emerges as a beautiful, mature woman in the Act I scene in her apartments, and dramatically conveys her absolute dismay when she discovers Aida is her rival for the love of Radames. Later, when she pleads with Radames to renounce Aida and marry her, she sings very movingly indeed, promising him his pardon if he does so. She is devastated when he choses death instead. But Aida has already secreted herself in the tomb and the opera ends with the couple joining together in a glorious, soaring final duet when both singers really come into their own.
Throughout the performance the choral singing was really first class, and the ballet scenes, by the Heather Fitchett School of Dancing, had delightfully appropriate pseudo-Egyptian choreography. The Preston Opera obviously only had the resources to use a comparatively small orchestra. They played excellently (apart from a moment or two of doubtful intonation from the strings at the pianissimo opening of the Prelude) under the confidently vivid direction of Colin Beeson, whose tempi couldn’t be faulted. Moreover in the Grand March Scene two trumpets, two horns and a single trombone carried the day with aplomb. Indeed the principal trumpet, (Chris Andrews} deserved an accolade.
The production (Geoff Horton and Alan Mathews) was thoroughly professional, as was the direction. There was only one interval and the opera moved from scene to scene seamlessly. The costumes were imaginative, and the scenery itself, designed by Erica Matthews and Keith Taylor was magnificent, and imaginatively Egyptian. It was constructed by Ben Forshaw, Alan Matthews and Terry Martin, and I was told it took four days to assemble in such a way that each scene replaced its successor smoothly.
All-in-all a remarkable achievement!
By Ivan March
******************************************************************
TREMENDOUS show. Visually amazing and some fabulous singing! What tour de force to pull that off. The audience really enjoyed it, too. I told Bernie that I also thought the costumes were wonderful.
It was certainly a very ambitious production but I hope that Geoff, the Committee and Production Team are pleased with the result. You should all be delighted that you hard work and effort has paid off.
Best wishes
Diane Mackley
******************************************************************
Good morning Geoff. CONGRATULATIONS to you and all at Preston Opera for presenting and performing a production of Aida which ranks alongside the best of any previous productions the company has given over the last forty five years. It would be extremely churlish to offer any minor criticisms of such an enjoyable and entertaining evening. One feature worthy of particular mention is the set and the staging which is very impressive. Mentioning this does not in any way detract from the individual and collective efforts of the principals, chorus and orchestra. What a most enjoyable evening. Preston Opera is in rude health and good hands.
Sincerely, Lawrence.
******************************************************************
I couldn't let the event pass without a word of congratulations. I played viola with the orchestra and I must say I thoroughly enjoyed the experience. Colin is a great musical director. Hopefully the opera was a great success both as an event and financially. I am more than willing to play again if you require me to do so.
Once again, thank you and congratulations on a wonderful time.
Alexander Roe
******************************************************************
AIDA 27th June 2012
What a wonderful evening the Company provided last night and the response of the audience must have been most gratifying for all those involved in any way with the performance and production.
There may have been small glitches but overall the singing was splendid and back to the high standards of past years. The orchestra supplied a firm and reliable accompaniment and the principals must have been pleased with the support they received from the ‘pit’ with a resultant boost to their confidence. The dancers added an extra dimension and it is difficult to see how their contribution could be bettered. Their movements were so well coordinated and appeared entirely in keeping with the remainder of the actionWe always enjoy a production without gimmicks and do not readily accept arguments that the staging needs to be relevant to the 21st century. The writers knew what they were endeavouring to achieve and in our opinion their concept must be given precedence over any ideas of updating the action. This production of AIDA proves the validity of this point.The production was splendidly costumed and the stage sets were of the highest standard. The participants in a production never see the whole picture but the audience last night were able to watch one splendid picture follow another as the opera unfolded.All in all it was a great evening and this production must rank among the great successes in the annals of PRESTON OPERA. It was so encouraging to see a substantial audience on the opening night with even larger audiences guaranteed for the remaining performances and the comments of that audience were very favourable.Last night we enjoyed a wonderfully spectacular performance but DON’T relax your efforts. However, at the end of the week everyone should give him/herself a good pat on the back for a job well done.ELIZABETH AND BILL BORROW 28.6.12Please can you pass on my congratulations to the company regarding the
superb performance of -Aida. I was very jealous that I was physically unable
to be involved with the opera.
I did manage to speak to some people but felt that I should pass on both my
and Mike's comments to all.
The sets were superb and would have done a professional company proud. The ease
of movement from one scene to another were the best I have seen.
The production itself was very good with full use of the magnificent chorus
singing as well as the superb principals.
Well Done.
Regards
Barbara Butcher
******************************************************************
Just to say that we came up from Devon to see Aida on Saturday and thoroughly enjoyed the performance. The singing, the scenery and the orchestra under Colin Beeson were all excellent and we hope to come up again when you stage your next opera.
Regards
Barry Radford
******************************************************************
Please pass on our thanks to Preston Opera for inviting us to a wonderful production of Aida. The vocals, orchestra and sets were all outstanding and made for a memorable evening which we enjoyed very much.
This production is indeed a proud and fitting contribution to Preston Guild year. Congratulations to all concerned.
Kind regards
Colin and Margaret Clark
Mayor and Mayoress of South Ribble