First night news report from La Boheme at Opera di Firenze
I can finally announce I will be directing Falstaff for Garsington Opera next season. Richard Farnes will conduct a fantastic cast, with Henry Waddington in the title role. Giles Cadle, who designed Intermezzo for me at Garsington will design this one too.
Continuing with announcements, I am thrilled to be able to let you know that I'll be directing a new Boheme at the Florence Opera next season. I love the piece, and had the chance to work on the classic John Copley production at the Royal Opera Covent Garden. I'm currently bringing my vision to life with my designer and hope to be able to share some of this when I can!
I can finally share the news that I'm returning to the Opéra National de Lorraine next season to direct a new production of Massenet's Werther. I've been thinking about this piece for a while now, and am delighted to have the chance to work on it at last. Equally pleased to return to Nancy after the double bill - great team and stunning theatre!
Here's a round up of the reviews for the L'heure espagnole and Gianni Schicchi at the Opera National de Lorraine in Nancy:
"At the Nancy Opera these two masterpieces are united in a double bill that is as exhilarating as it is convincing. An essential set element, a monumental clock is used, in L'heure espagnole, as bedroom for Concepcion whilst symbolising the passage of time (and the frustration of the couples). In Gianni Schicchi, the clock moves from centre stage to stage right, decorating the interior of a florentine apartment - and with a few surprises in store along the evening. It is classical and superbly engineered. Furthermore the director Bruno Ravella knows perfectly well how to draw (in attitude and costumes) each character's archetype." Diapason Magazine
"A heure espagnole and Schicchi functioning like clock-work in Nancy" "In a clever production from Bruno Ravella and with the young singers of the association Nancy Opéra Passion, the double bill convinces the public of the Opera national de Lorraine." "The two pieces have little dramatic connections, albeit the comic lightness and a conclusion that gives us the moral of the tale. Bruno Ravella decides to link them with the set, stunning, created by Annemarie Woods. A gigantic clock stands then, representing Torquemada's profession, the cuckold husband in the Heure espagnole, and the last hour of the old Buoso, whose heritage is at the centre of the drama in Gianni Schicchi." "The two hours go by in a flash, the direction being so dynamic". "Perfect cohesion. The direction creates movement and fills the space with the precision of a… clock maker". Olyrix
"Particularly clever, the direction from Bruno Ravella revels in creating links between the two pieces created around the same time, both comical, but totally different in spirit and tonality." "The direction, for both pieces, overflows with ideas and gags, to the joy of a public conquered right from the start." resmusica
Emilie Delanne, assistant designer on the L'heure espagnole and Gianni Schicchi double bill, took these great pics in rehearsal. They give a good sense of the production so I thought I'd share them!
Cavalleria Rusticana and Pagliacci for Hamsptead Garden Opera have been nominated in the Best Opera Production at the Offies 2017! (Off West End theatre awards). Fingers crossed
A friend just forwarded me a review of the Garsington Intermezzo that appeared in Spain on Mundoclasico. I'm attaching a link to the review below and will translate it fully in the CREDITS section of this site.
"This year, the new production of Intermezzo received a unanimously eulogistic response from the press. All the critics were in agreement, from traditionalists to iconoclasts, pedants, conformists, exigent ones, precious, destructive ones, etc. etc.
The reason for this very rare consensus is simple. The director Bruno Ravella represented the anxieties of a housewife in the Alps faced with the constant travels of her composer husband as a theatrical action of rigorous naturalness. There wasn't one single moment in this Straussian neorealism when the singers gave the audience an erratic or stereotypical gesture; they were so imbued with their domestic mishaps that watching them gave the impression of being spies in their private lives."
Full review in the CREDITS page.
Read the review in Spanish here
As part of WhatsOnStage's 'The best (and worst) of opera of 2015', a bouquet for Intermezzo!
"Garsington again, for Bruno Ravella's pitch-perfect production of Strauss's semi-autobiographical opera Intermezzo. Giles Cadle's set was simultaneously ambitious and economical; Jac van Steen conducted it with an impressive Straussian sweep. An evening that's stayed strongly in my memory for the past seven months. I wish I'd seen it twice."
Read the whole article here
I'll take this opportunity to wish a merry Christmas to all of you who celebrate it!
Photo ©Mike Hoban