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Triple Bill review – the Royal College of Music connects three seemingly disparate pieces | Opera + Classical Music Reviews | musicOMH
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Starts --> <div id="main"> <div class="post-147851 post type-post status-publish format-standard has-post-thumbnail hentry category-reviews-classical tag-anastasia-koorn tag-benedict-munden tag-cecilia-zhang tag-charlotte-jane-kennedy tag-daniel-barrett tag-edward-birchinall tag-francis-melville tag-free tag-georgia-melville tag-marcus-swietlicki tag-michael-rosewell tag-pen-tian tag-ross-fettes tag-royal-college-of-music-opera-orchestra tag-sam-hird tag-susanna-davis artist-georgia-melville"> <div class="category_bar">Opera + Classical Music Reviews</div> <div id="post_title"> <h1 class="title">Triple Bill review – the Royal College of Music connects three seemingly disparate pieces</h1>25, 27, 29, 30 November 2024</div> <div class="fix"></div> <img width="71" height="36" src="/wp-content/themes/musicOMH/images/5stars.gif"> <!-- echo do_shortcode("[twitter size=medium float=left width=80]"); --> <div class="fix"></div> <div class="post-meta"><span class=byline>by <span class="author vcard"><span class="fn"><a href="https://www.musicomh.com/author/sam-smith" title="Posts by Sam Smith" rel="author">Sam Smith</a></span></span></span><br> <span class=posted>published: <abbr class="date time published" title="2024-11-27T14:51:44+0000">27 Nov 2024</abbr> in <span class="categories"><a href="https://www.musicomh.com/classical/reviews-classical">Opera + Classical Music Reviews</a></span> </span></div> <div class="woo-fblike fl"> <iframe loading="lazy" src="about:blank" frameborder="0" allowTransparency="true" style="border:none; overflow:hidden; width:80px; height:25px;" data-rocket-lazyload="fitvidscompatible" data-lazy-src="https://www.facebook.com/plugins/like.php?href=https://www.musicomh.com/classical/reviews-classical/triple-bill-royal-college-of-music-britten-weill-ravel&layout=button_count&show_faces=false&width=80&action=like&colorscheme=light&font=arial&locale=en_US"></iframe><noscript><iframe src="https://www.facebook.com/plugins/like.php?href=https://www.musicomh.com/classical/reviews-classical/triple-bill-royal-college-of-music-britten-weill-ravel&layout=button_count&show_faces=false&width=80&action=like&colorscheme=light&font=arial&locale=en_US" frameborder="0" allowTransparency="true" style="border:none; overflow:hidden; width:80px; height:25px;"></iframe></noscript> </div> <!--<a href="https://twitter.com/share" class="twitter-share-button" data-show-count="true">Tweet</a><script async src="//platform.twitter.com/widgets.js" charset="utf-8"></script>--> <!-- Place this tag after the last +1 button tag. --> <div style="float: left; width: 100%;"><hr width="100%" align="right"> </div> <br class="clearer" /> <div class="fix"></div> <div class="entry"> <p><b>Works by Britten, Weill and Ravel in the Britten Theatre<span class="Apple-converted-space">.</span></b></p> <div id="attachment_147860" style="width: 650px" class="wp-caption aligncenter"><picture fetchpriority="high" decoding="async" aria-describedby="caption-attachment-147860" data-attachment-id="147860" data-permalink="https://www.musicomh.com/classical/reviews-classical/triple-bill-royal-college-of-music-britten-weill-ravel/attachment/rcm2" data-orig-file="https://www.musicomh.com/wp-content/uploads/2024/11/rcm2.jpg" data-orig-size="640,427" data-comments-opened="0" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"CHRIS CHRISTODOULOu","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="rcm2" data-image-description="<p>Cleared for use by Jacqueline Whitbread</p>" data-image-caption="<p>Francis Melville, Peng Tian, Anastasia Koorn, Georgia Melville, Daniel Barrett & Ross Fettes (Photo: Chris Christodoulou)</p>" data-medium-file="https://www.musicomh.com/wp-content/uploads/2024/11/rcm2-300x200.jpg" data-large-file="https://www.musicomh.com/wp-content/uploads/2024/11/rcm2.jpg" class="wp-image-147860 size-full"> <source type="image/webp" srcset="https://www.musicomh.com/wp-content/uploads/2024/11/rcm2.jpg.webp 640w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm2-300x200.jpg.webp 300w" sizes="(max-width: 640px) 100vw, 640px"/> <img fetchpriority="high" decoding="async" aria-describedby="caption-attachment-147860" data-attachment-id="147860" data-permalink="https://www.musicomh.com/classical/reviews-classical/triple-bill-royal-college-of-music-britten-weill-ravel/attachment/rcm2" data-orig-file="https://www.musicomh.com/wp-content/uploads/2024/11/rcm2.jpg" data-orig-size="640,427" data-comments-opened="0" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"CHRIS CHRISTODOULOu","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="rcm2" data-image-description="<p>Cleared for use by Jacqueline Whitbread</p>" data-image-caption="<p>Francis Melville, Peng Tian, Anastasia Koorn, Georgia Melville, Daniel Barrett & Ross Fettes (Photo: Chris Christodoulou)</p>" data-medium-file="https://www.musicomh.com/wp-content/uploads/2024/11/rcm2-300x200.jpg" data-large-file="https://www.musicomh.com/wp-content/uploads/2024/11/rcm2.jpg" src="https://www.musicomh.com/wp-content/uploads/2024/11/rcm2.jpg" alt="RCM triple bill" width="640" height="427" srcset="https://www.musicomh.com/wp-content/uploads/2024/11/rcm2.jpg 640w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm2-300x200.jpg 300w" sizes="(max-width: 640px) 100vw, 640px"/> </picture> <p id="caption-attachment-147860" class="wp-caption-text">Francis Melville, Peng Tian, Anastasia Koorn, Georgia Melville, Daniel Barrett & Ross Fettes (Photo: Chris Christodoulou)</p></div> <p>On the face of it, Benjamin Britten’s <i>Les Illuminations </i>(1940), Kurt Weill’s <i>Chansons des quais</i> (1934) and Maurice Ravel’s <i>L’heure espagnole</i> (1911) may not seem to have much in common. However, in this Royal College of Music triple bill, comprising two song cycles and a one act opera, director Ella Marchment finds the connections. At the centre of all three is a lone female protagonist, and while each piece may seem quite different in tone and intention, to Marchment this reveals how a performer can reinvent herself to capture the unique spirit of each moment in time.<span class="Apple-converted-space"> </span></p> <p>The connecting figure for the three pieces is the French cabaret performer Mistinguett, who was co-director of the Moulin Rouge following its fire in 1915. In this context, <i>Les Illuminations</i> shows her looking back on her life shortly before her death at the age of 82. She tries to hold onto memories of happy moments, while realising that many of them were anything but joyous. <i>Chansons des quais</i> focuses on one of Mistinguett’s memories, namely a performance in the 1930s in which she executed the type of cabaret piece that made her a star. <i>L’heure espagnole </i>then takes us to an earlier and more prosperous time when the same performance troupe seen in the Weill appeared on the main stage of opera houses. Here Mistinguett takes on the role of Concepción, and revels in seeing how men become fools when they ‘fall foul’ of female sexuality.</p> <p>Britten’s <i>Les Illuminations </i>employ texts from Arthur Rimbaud’s eponymous set of poems, written between 1873 and 1875. As these have an hallucinatory and dreamlike feel, they can be interpreted in a variety of ways, which makes them ripe for being presented as Mistinguett’s memories. In this staging she is shown to be failing in both memory and health, with the cycle revealing the thoughts that flood in while she lies unconscious.<span class="Apple-converted-space"> </span></p> <p>The curtain rises on Mistinguett swinging on a hoop as might be found in the Moulin Rouge, and dressed as if she were a showgirl or even the Master of Ceremonies there. With her performing on a circular stage, surrounded by initially empty chairs, each poem generally conjures up a new memory. ‘Phrase’ recalls her first love who abandoned her, ‘Antique’ focuses on a co-star partnership that she tainted through her own ambition, and ‘Départ’ sees all of the men in her life having left her as she hopes her memories will take her to a less painful place.<span class="Apple-converted-space"> </span></p> <p style="text-align: center;"><em><strong>“…this reveals how a performer can reinvent herself to capture the unique spirit of each moment in time”</strong></em></p> <div id="attachment_147861" style="width: 310px" class="wp-caption alignright"><picture decoding="async" aria-describedby="caption-attachment-147861" data-attachment-id="147861" data-permalink="https://www.musicomh.com/classical/reviews-classical/triple-bill-royal-college-of-music-britten-weill-ravel/attachment/rcm1" data-orig-file="https://www.musicomh.com/wp-content/uploads/2024/11/rcm1.jpg" data-orig-size="640,640" data-comments-opened="0" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"CHRIS CHRISTODOULOu","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="rcm1" data-image-description="<p>Cleared for use by Jacqueline Whitbread</p>" data-image-caption="<p>Georgia Melville (Photo: Chris Christodoulou)</p>" data-medium-file="https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-300x300.jpg" data-large-file="https://www.musicomh.com/wp-content/uploads/2024/11/rcm1.jpg" class="size-medium wp-image-147861"> <source type="image/webp" data-lazy-srcset="https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-300x300.jpg.webp 300w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-150x150.jpg.webp 150w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-24x24.jpg.webp 24w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-48x48.jpg.webp 48w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-96x96.jpg.webp 96w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1.jpg.webp 640w" sizes="(max-width: 300px) 100vw, 300px"/> <img decoding="async" aria-describedby="caption-attachment-147861" data-attachment-id="147861" data-permalink="https://www.musicomh.com/classical/reviews-classical/triple-bill-royal-college-of-music-britten-weill-ravel/attachment/rcm1" data-orig-file="https://www.musicomh.com/wp-content/uploads/2024/11/rcm1.jpg" data-orig-size="640,640" data-comments-opened="0" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"CHRIS CHRISTODOULOu","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="rcm1" data-image-description="<p>Cleared for use by Jacqueline Whitbread</p>" data-image-caption="<p>Georgia Melville (Photo: Chris Christodoulou)</p>" data-medium-file="https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-300x300.jpg" data-large-file="https://www.musicomh.com/wp-content/uploads/2024/11/rcm1.jpg" src="data:image/svg+xml,%3Csvg%20xmlns='http://www.w3.org/2000/svg'%20viewBox='0%200%20300%20300'%3E%3C/svg%3E" alt="RCM triple bill" width="300" height="300" data-lazy-srcset="https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-300x300.jpg 300w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-150x150.jpg 150w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-24x24.jpg 24w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-48x48.jpg 48w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-96x96.jpg 96w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-638x638.jpg 638w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-620x620.jpg 620w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-400x400.jpg 400w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1.jpg 640w" data-lazy-sizes="(max-width: 300px) 100vw, 300px" data-lazy-src="https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-300x300.jpg"/><noscript><img decoding="async" aria-describedby="caption-attachment-147861" data-attachment-id="147861" data-permalink="https://www.musicomh.com/classical/reviews-classical/triple-bill-royal-college-of-music-britten-weill-ravel/attachment/rcm1" data-orig-file="https://www.musicomh.com/wp-content/uploads/2024/11/rcm1.jpg" data-orig-size="640,640" data-comments-opened="0" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"CHRIS CHRISTODOULOu","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="rcm1" data-image-description="<p>Cleared for use by Jacqueline Whitbread</p>" data-image-caption="<p>Georgia Melville (Photo: Chris Christodoulou)</p>" data-medium-file="https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-300x300.jpg" data-large-file="https://www.musicomh.com/wp-content/uploads/2024/11/rcm1.jpg" src="https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-300x300.jpg" alt="RCM triple bill" width="300" height="300" srcset="https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-300x300.jpg 300w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-150x150.jpg 150w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-24x24.jpg 24w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-48x48.jpg 48w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-96x96.jpg 96w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-638x638.jpg 638w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-620x620.jpg 620w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1-400x400.jpg 400w, https://www.musicomh.com/wp-content/uploads/2024/11/rcm1.jpg 640w" sizes="(max-width: 300px) 100vw, 300px"/></noscript> </picture> <p id="caption-attachment-147861" class="wp-caption-text">Georgia Melville (Photo: Chris Christodoulou)</p></div> <p>As she sings the ‘numbers’ various men appear and surround the stage to watch her. She dances personally for one, only we physically see her perform before an empty chair while he sits on the opposite side of the stage. This could signify how at this particular moment she is the one in control, or conversely how there is always distance and detachment when she longs for a loving relationship. This tension runs throughout the staging, with the men always surrounding the stage, but only once mounting it. When they do it constitutes a frightening episode for Mistinguett, although it is highly questionable whether the distance they retain for the rest of the time could be described as respectful. Georgia Melville’s performance as Old Mistinguett is highly accomplished as her soprano proves to be very secure. Her sound is shaped to perfection, and is imbued with the right amount of edge for the context so that she captures the sense of the character putting on a performance without overdoing things.<span class="Apple-converted-space"> </span></p> <p>The character of Old Mistinguett also appears in the other works as she looks on her younger self, but by only doing so at certain points she does not become too much of a distraction. <i>Chansons des quais </i>is presented in a not dissimilar way to <i>Les Illuminations</i> only, in keeping with this being a cabaret piece for a younger Mistinguett, the sense of this being a performance is even greater as a proscenium arch is introduced to the stage.<span class="Apple-converted-space"> </span></p> <p><i>Chanson des quais </i>is a collection of songs for soprano and male quartet that were initially incorporated into the production of the two act play <i>Marie Galante </i>by Jacques Deval. The four men appear in dresses and initially act like automaton who have to be wound up with a key to come to life, rather like Olympia in <a href="https://www.musicomh.com/classical/reviews-classical/the-tales-of-hoffmann-royal-ballet-and-opera-offenbach-juan-diego-florez" target="_blank" rel="noopener"><i>Les contes d’Hoffmann</i></a>. Over the course of the cycle, however, they move from being highly controlled to spinning off their ‘axes’. As they become increasingly aggressive Mistinguett goes from being in a commanding to a subservient position, with the ending feeling violent and disturbing. Charlotte Jane Kennedy gives a highly professional performance as Mistinguett, as her soprano demonstrates great consistency while being possessed of a certain warmth. The four men, who all play parts in <i>L’heure espagnole</i>, reveal a strong sense of physicality, courtesy of movement director Adam Haigh, so that at times one is reminded of the male players in <a href="https://www.musicomh.com/classical/features-classical/why-i-love-ariadne-auf-naxos#google_vignette" target="_blank" rel="noopener"><i>Ariadne auf Naxos</i></a>.</p> <p>The stage for <i>L’heure espagnole</i> features many beautiful clocks, with each sporting a famous name such as ‘Breguet’ or ‘Longines’. Marchment and designer Cordelia Chisholm have devised a brilliant way of ensuring these can be carried off supposedly with people inside them without using trapdoors. Rather than the clocks being grandfather clocks, they are all round so that when Gonzalve and Don Iñigo Gomez hide inside them their legs stick out of the bottom, enabling Ramiro to move the clocks around by having them scurry along.<span class="Apple-converted-space"> </span></p> <p>This decision also enables many other jokes to be written into what is a smooth and dynamic staging all round. It is particularly amusing to see the face of Gonzalve (an effective Pen Tian) sticking out of the clock face philosophising on the sacrifices he is making for love by hiding in a clock, or that of Don Iñigo Gomez (an equally persuasive Ross Fettes) revelling in the fun of hiding without realising just how ridiculous he is being made to look. Anastasia Koorn as Concepción combines an excellent mezzo-soprano with some priceless facial expressions, while, as Ramiro, Daniel Barrett reveals a splendid baritone and a well meaning persona that is instantly engaging. There is also strong support from Francis Melville as Torquemada while the Royal College of Music Opera Orchestra, superbly conducted by Michael Rosewell, remains focused and precise throughout the evening.<span class="Apple-converted-space"> </span></p> <p><i>• Casts vary over the run. Cast A (described above) performs on 25 and 29 November, and Cast B on 27 and 30 November.</i></p> <p><i>• For full details of casts, and all future events, visit the <a href="https://www.rcm.ac.uk" target="_blank" rel="noopener">Royal College of Music website</a>.</i></p> <div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-official sd-sharing"><h3 class="sd-title">Please share this:</h3><div class="sd-content"><ul><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button" href="mailto:?subject=%5BShared%20Post%5D%20Triple%20Bill%20review%20%E2%80%93%20the%20Royal%20College%20of%20Music%20connects%20three%20seemingly%20disparate%20pieces&body=https%3A%2F%2Fwww.musicomh.com%2Fclassical%2Freviews-classical%2Ftriple-bill-royal-college-of-music-britten-weill-ravel&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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