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Night
full of fun and vitality
Park Opera's Sallie Ward has done it again! Her production
of Benjamin Britten's light-hearted opera Albert Herring
was full of fun and vitality.
Albert himself was a masterpiece of acting and singing by Adam Tunicliffe
- a supressed and shy teenager shuffling about in his mother's shop.
His appalled reaction to the limelight in which he found himself
as "King of the May" aroused our sympathy and contrasted
so well with his defiant liberation after drinking a tumbler full
of spirits. We rejoiced to see him shocking the staid worthies of
the town and telling off his domineering mother.
The Committee members were perfect sketches - the pious vicar, the
pompous mayor, the schoolmistress who is faintly out of touch, the
heavy policeman and above all, the autocratic Lady Billows, played
by Diana Vivian. They contrasted well with the naughty, lively children
and with the saucy lad from the butcher's and the happy go-lucky
girl from the bakery.
As always with Park Opera, the singing was of the highest standard
- crisp and clear. It was so well integrated with the action and
the choreography that it was as natural as ordinary speech.
The wholehearted involvement of everyone on stage and in the orchestra
made this production of Britten's comedy a delight.
(Albert Herring - June 2008)
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A triumphant Turandot
" ..it was sensational. The musicality, the orchestral playing,
the soloists, the spatial solutions to the huge forces, the sumptuousness
of the set and costumes, all combined to make this an unforgettable
experience. This was undoubtedly one of he greatest achievements
in the history of the Wilde Theatre."
"Park Opera decided to stage Puccini's last
and most musically challenging opera as part of their 25th birthday
celebrations.... They had no illusions about the depth of the undertaking.
Happily, the gamble pays off - with rich rewards. Anne-Marie Czajkowski
is a chilling, imperious Turandot....Andy Hart is the stubborn Calaf....(his)
powerful Nessun Dorma drives home the haunting beauty of the famous
aria. Maria Gayle-Rodgers is sweetly heatrbreaking as loyal Liù....Jeremy
Andrews is noble, majestic in suffering and vaguely Gandalf-like
as Timur. Gareth Dayus-Jone, Jonathan Bungard and Gary Maslen show
wonderful comic timing and bring much-needed light relief as Ping,
Pong and Pang. Paul Hughes is a silent and terrifying executioner....
thoroughly deserving the boos and hisses that greeted his curtain
call. The chorus had fine strong voices, lively characterisation
and enthusiasm. The children were charming. The simple set effectively
invoked the royal courts of ancient China, complemented by mainly
red and green lighting. All on stage - and in the orchestra - gave
of themselves body, heart and soul and the result was an impressive
perfomance that flew by...Park Opera have triumphed with Turandot
and it is a fitting accomplishment with which to mark their anniversary
year."
"Turandot includes the most popular aria in
the world - Nessun Dorma...Calaf (Andy Hart) peformed this admirably
on an empty stage, addng to its impact. Princess Turandot (Anne-Marie
Czajkowski) gave a powerful peformance, but the highlight was the
touching Liù (Marie Gayle-Rodgers). The full house made a
successful first night, well supported by the chorus and orchestra
- worthy of any West End theatre. A thoroughly enjoyable evening."
(Turandot - February 2007)
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Mozart would have liked fluid Cosi
"Park Opera performed Mozart's Cosi fan tutte with
considerable flair. The orchestra was excellently balanced and the
principals put in very good performances. Tara Overend (Fiordiligi)'s
voice was particularly delightful and Emma Mabin (Dorabella)'s duets
with her were a highpoint of the night."
"Park Opera's production of Cosi fan tutte was
its contribution to the musical celebtrations of the 250th anniversary
of Mozart's birth. The performance was a perfect balance of music
and drama. The music was superb ... which interpreted closely
the various moods the composer expressed. Tara Overend's lament
in Act II was sad and moving. Emma Tring's songs were pert and
cheeky - and beautifully sung. Emma Mabin capitulated beautifully
into Guiglielmo's arms. Gareth Dayus- Jones and Jonathan Bungard
(Guiglielmo and Ferrando) continued to sing serenly from any position.
Jeremy Andrews was a perfect Don Alfonso - a cynical man-of-the-world
- with a gorgeous voice. The backbone of Park Opera is the chorus.
Its performance was impressive with a lovely tone. The set was
simple .. a terrace upstage with a wide backdrop which resembled
the Bay of Naples. The cast was so well choeographed that they
seemed to be part of the music, naturally moving about the stage
and keeping the plot flowing. The whole performance was a well-
balanced blend of all the ingredients. Mozart would have liked
it."
(Cosi fan tutte - June 2006)
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"Under the baton of Brian Henry, Park Opera's strong principal
line up, together with a very effective chorus, ensured that Sallie
Ward's production of Mozart's last opera, performed on a set that
would not have disgraced a leading opera house, was another success
for this talented company. No stranger to the operatic world,
Andrew Yates (Tito) made dramatic use of his strong tenor voice
and excellent stage presence .... and Diana Vivian sailed effortlessly
through her performance of Vitellia ... Emma Mabin stole the show
with her delightful and convincing characterisation as deluded,
would-be assassin Sesto, while Lindsay Bramley brought a robust
interpretation to the role of Annio, the tender, passionate Act
I duet with Tara Overend (Servilia) proving to be one of the musical
highlights of the opera. Jeremy Andrews used his resonant bass
voice to good effect as Publio."
(La Clemenza di Tito - June 2005)
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"Park Opera's lavish production ..... featured wonderful
singing, beautiful costumes and simple but effective sets. I particularly
liked the platform behind the main action which was used for both
dancing and carnival, highlighting how Violetta was cut off from
her previous friends. Dominique Fegan, Violetta, .... was brilliant,
with a lovely singing voice, and Neil Jordan as Alfredo was a
strong romantic lead. .... We also enjoyed the gypsy dancers;
... who brought a light-hearted touch to the opera: congratulations
Lucy Ward who both danced and choreographed. ... We are incredibly
lucky here in Bracknell to be able to watch such talented people."
(La Traviata - February 2004)
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"Park Opera's production of Puccini's Tosca was good enough
to be professional. ... Dominique Fegan, was excellent, with a
powerful singing voice and a lovely stage presence. I felt I was
lucky to hear this Australian singer. In her scenes with Scarpia,
David Stout, you could sense her feeling of revulsion. ... As
someone who, unlike most of the rest of the audience, had not
seen Park Opera before, I am looking forward to their production
of La Traviata."
(Tosca - June 2003)
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“Sallie Ward, the producer, and Brian Henry, the musical
director of Park Opera, have done it again! The choreography in
this performance was simply astonishing, perhaps most impressively
in the lovely masque with its classic shepherds and shepherdesses.
As always, the costumes were good, and thoughtfully matched the
mood of the drama, from the dazzling ball gowns and uniforms to
the dishevelled clothes of Herman when he realised he had been
deceived. .... As ever with Park Opera, the commitment and enthusiasm
of its members showed in the choral singing, which was outstanding
– bright, hearty and convincing. The men’s choruses
in the last scene were very fine indeed. .... Park Opera’s
next? Not to be missed.”
(The Queen of Spades - Februray 2003)
“Park Opera celebrated their 21st season in fine style with
a radiant, roller-coaster production of Mozart’s comic masterpiece.
The entire cast performed with the usual fine style that makes
Park Opera a reliable yet always fresh treat .... throwing heart
and soul into an impressive production that was a treat for the
eyes and ears.”
(The Marriage of Figaro - June 2002)
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“All the principals were good. It’s wonderful to go
to a production when the leading female character (who is supposed
to be a great beauty) can sing and act and looks like the kind
of woman who would have men fighting over her. The most memorable
scene was definitely the masked ball itself; beautifully choreographed,
helpfully colour-coded (red for assassins, blue for the good guys,
and white and black for everyone else), with the chorus dancing
merrily in the background as the tragedy of the main characters
is played out at the front of the stage. I can’t wait for
the next one.”
(A Masked Ball - February 2002)
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Park Opera producer Susan Moore and conductor Brian Henry, saw
to it that there was clear characterisation in this enjoyable
performance. Attention to detail in costumes, movement and acting,
as well as in singing, was evident, right down to the little peasant
boy. The music was lovely ... very good soloists, shining ensembles
and as usual, good singing from the enthusiastic chorus.”
(Don Giovanni - June 2001)
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“Eugene Onégin in the manner of grand opera requires
skilful presentation. On this occasion the producer, Margery Jackson,
and the choreographer, Dawn Thompson, were particularly inspired.
The big scenes were beautifully arranged. The St Petersburg ball
was lively and wittily managed. The intimate scenes were equally
successful. But, really, the production was such an enjoyable
success because of the commitment and enthusiasm of everyone involved
... onstage and behind the scenes.”
“This was a notable interpretation. The soloists and chorus
ensured the exceedingly high standards we have come to expect
from this company were maintained, and the producer Margery Jackson
and musical director Graeme Lodge can be well pleased with the
final result.”
(Eugene Onégin - June 2000)
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“This performance was a spectacle in every respect. Keith
Ward’s chunky Egyptian-inspired sets were reminiscent of
the grandeur of Karnak. The costumes were superb. David Lacey
conducted the beautiful music with great panache .... and the
whole triumphal scene was very exciting. The Park’s chorus
was firm and precise. Their singing in the Temple in Act I was
a wonderful evocation of the mystery of the strange Egyptian rites
which Verdi wanted to convey. As always, Sallie Ward’s arrangement
of the large chorus, and their easy, natural acting, was beautifully
done.”
(Aida - February 2000)
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“Park Opera has always specialised in tremendous soloists
and a tremendous set, but now with each production the quality
of the chorus and the movement on the stage gets better and better.
Perhaps the best I can say was that I returned and bought a ticket
for the Saturday night! This enabled me to enjoy the magnificent
performance twice.”
(Macbeth - February 1998)
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“What a colourfully vibrant production ..... In this remarkable
visual spectacle, directed with dashing panache, ..... the entire
company impressed. ..... The ensemble singing was a highlight
of the evening. ..... The twenty-two young children added a fresh
charm to the action and sang with joyous enthusiasm.”
(Carmen - June 1997)
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“The production of this very demanding opera was outstanding.
Congratulations to all those involved on a magnificent effort.”
(Il Trovatore - February 1997)
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“Beautiful costumes and imaginative lighting, combined with
fine acting and singing. ..... Mozart’s masterpiece performed
as it should be – bright, breezy and full of colour.”
(The Magic Flute - June 1996)
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“Warm and natural production ..... rich tones of the fine,
attentive chorus. The care and attention paid by the chorus to
every gesture, every tableau, making the whole a joy to look at,
was typical of the whole performance.”
(La Bohème - February 1996)
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"The colourful sets and costumes set the seal on an operatic
production of which to be proud."
(Rigoletto - February 1993)
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