Les Troyens

The first word that comes to mind about Les Troyens, is "epic". Five hours + of opera, with two intervals. Not for the faint-hearted. And I thought that Wagner was tough-going! Why did Berlioz not make this into two operas - actually two operas and a ballet. Maybe they hadn't invented serialisation in his days?

• The first part - about the prophetess Cassandra (sung by the beautiful and mighty Deborah Voigt) and the fall of Troy.
• The second part - about Aeneas (Brian Hymel, for whom this was a triumphant Met debut) arriving in Carthage and his love for, and betrayal of, Dido (sung by the gorgeous Susan Graham). And what chemistry between these two!
• The ballet? - Most of Act IV actually - I have to admit that if I was a movie director, this is the bit I would have cut, apart from the beautiful and passionate duet of Dido and Aeneas! Maybe I needed a sugar boost, but my eyes were closing and I could feel my head rolling. Beautiful music and gorgeous dancing, but not enough to keep me awake after nearly 4 hours in a dark cinema, despite BB's bento box. I bought an ice cream at the interval after this and felt a whole lot better for the fifth and final act, which was action-packed!

I wasn't familiar with Berlioz's opera. So, I had prepared myself by listening to a recording on Spotify, but of course I had listened while working on the computer, pausing any time I wanted to get up! Very different from the live experience! I think I will need to listen to it again, or maybe watch it on Sky Arts 2 whenever it comes up - They're showing Satyagraha tomorrow at 8pm, from last year's Met HD broadcasts, so I might have to wait a while!

 

Loved the set and the lighting - the sky going from day to night behind the big circle! Beautiful costumes too. The white tunics over pants in Carthage, the purple depicting Dido and Aeneas's love for each other, the soldiers's khaki and rust and black. I wasn't crazy about Cassandra's dress, though - I thought it was quite restrictive - Maybe that was intentional - Cassandra's movements are bound by the dress, maybe as she is bound by her role as a princess in Troy's society, or maybe she is bound by the curse that makes it that nobody believes her predictions. I suppose, like all characters in a tragedy, ultimately, she is bound by her fate. I thought that Voigt portrayed her with great sensitivity, though - hers is a desperate situation, but we do see a glimpse of the young woman as she kisses her beloved, Coroebus.

And a big bravo to the chorus, who had such a central role in this opera!

And a note to say that the three principal singers had excellent French diction!