Impressive visuals and performances lift a confusing operatic take on The Tempest

Brett Polegato (Prospero)
© Marc Brenner

George Jackson (Conductor)

Sir David Pountney (Director)

David Haneke (Video Designer)

April Dalton (Costume Designer)

Seeta Patel (Movement)

Tim Mitchell (Lighting Design)

The Gascoigne Orchestra 

Robert Salter (Leader)

Philip White (Chorus Master)

Hugh Cutting (Ariel) & Brett Polegato (Prospero)
© Marc Brenner

Brett Polegato (Prospero)

Ffion Edwards (Miranda)

Hugh Cutting (Ariel)

Andreas Jankowitsch (Caliban)

William Dazeley (Alonso)

Luis Gomes (Ferdinand)

Henry Grant Kerswell (Sebastian)

Philip Clieve (Antonio)

Harry Nicoll (Gonzalo)

Adrian Thompson (Trinculo)

Richard Stuart (Stephano)

Roseanna Bell, Edward Stevens, Nicholas Tredea, Harriet Waghorn (dancers)

5.45pm, Thursday 11 July 2024

Grange Park Opera, Surrey

★★★

Anthony Bolton (b.1950): Island of Dreams, 

based on William Shakespeare (1564-1616): The Tempest

(libretto abridged by Robert Hamilton & Anthony Bolton)

Richard Stuart (Stephano) & Andreas Jankowitsch (Caliban)
© Marc Brenner

'Visually impressive, (David Haneke's video projections) conjure up a variety of settings, from Prospero’s steampunk, Tardis-like control room ... to a post-apocalyptic wasteland and a deserted fairground en route'.

'Some of Bolton's strongest music is given to Prospero, which was delivered with power and impressive energy by Brett Polegato'.

'Hugh Cutting was engaging as the sprightly Ariel, energetically flitting about, sprinkling magic and mischief, sounding clear as a bell. Ffion Edwards’ Miranda was also bright, crystal clear and dramatically convincing, with Luis Gomes as Ferdinand blending well in their moments together'.

Ffion Edwards (Miranda) & Luis Gomes (Ferdinand)
© Marc Brenner

'George Jackson conducted the Gascoigne Orchestra with tight precision throughout, and Act 2’s orchestral ‘magic carpet’ interlude gave the Gascoigne Orchestra a chance to shine'. 

'Moments of musical drama in Act 2, visually impressive projections and the fine singing and playing of this challenging score are to be commended, but greater coherence stylistically, musically and dramatically would make more sense of Shakespeare's densely complex original material'. 

Read my full review on Bachtrack here.