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Wagner Society in NSW Inc
Hugh Canning, in a review of 25 November 2007 for the Times Online, titled “Scottish mystery man Paul Curran brings real razzle-dazzle to Strauss in Chicago” explains his title as follows: “The Lyric Opera of Chicago has just staged its first in 23 years, conducted by its British music director, Andrew Davis, and staged by a Scot, Paul Curran. For UK audiences, this former dancer is something of a mystery man. His most prominent work here has been with the Royal College of Music and Garsington Opera, but internationally he is now working at the highest level – Wagner's Tannhauser at La Scala, Milan; this Frau ; Britten's Peter Grimes and a forthcoming Billy Budd in Santa Fe – which makes his peripheral presence in British opera all the more baffling. Of the Chicago production, Canning says that “Curran and his set and costume designer, Kevin Knight, have devised a grand but practical Frau ohne Schatten, with essentially two sets: a semicircular wall, which does double duty for the Emperor's palace and Keikobad's magical realm, and a wooden structure with a footbridge, suggesting oriental theatre, for the Dyer's workshop. Descending luminous globes and neon strip lights suggest the other-worldliness of the milieu, in which the two principal women struggle with their consciences and seek to find reconciliation with their men without compromising their own personalities. In summary he is very complimentary: “It's a musical triumph for the Lyric Opera of Chicago, and the rest of the world will rejoice that such a top-flight Frau cast is available once again”. Similarly, Barbara Keer, in her review of the production for Splash Magazines Worldwide on 25 November 2007 considered that it “is spectacular with powerful drama and many surprising effects on stage. Experiencing this opera was like entering another time and space: the music, singing, sets, action completely drew us into this production. It felt like being transported to a “new” realm unlike other places you have been. Stage director, Paul Curran, created staging that was elaborate and beyond what one would expect. I wondered if it would be a contender for movie special effects. The effects, however, completely supported and enhanced the flow of the story line, totally focused our attention, and provided pleasure.” Some pictures accompanying the review on the Splash website give an indication of the colour and fantastical style of the design ( http://www.lasplash.com/publish/main_feature/cat_main_chicago/Die_Frau_ohne_Schatten_Review_-_Lyric_Opera_of_Chicago.php ). In his review, “Opera doesn't sit in shadows,” Bill Gowen in the Daily Herald of 11/17/2007 agrees that this “ is a stunning, visually creative new production designed by Kevin Knight who, along with stage director Paul Curran, are making auspicious Lyric Opera debuts.” Gowen notes that the “Lyric has come up with a cast not likely to be equaled anywhere: American sopranos Deborah Voigt (Empress), Christine Brewer (Dyer's Wife, Lyric Opera debut) and mezzo-soprano Jill Grove (Nurse); along with tenor Robert Dean Smith in a most impressive Lyric debut as the Emperor, and German bass Franz Hawlata as Barak. This opera celebrates Voigt's return to the Lyric following last season's triumphant title-role debut as Strauss' Salome. Brewer's many Strauss roles around the world include the title role in ‘Ariadne auf Naxos' and Chrysothemis in ‘Elektra'”. For the record, the cast and other creative team members included: Sir Andrew Davis, conductor, Donald Nally, chorus master, August Tye, ballet mistress, Empress: Deborah Voigt, Dyer's Wife: Christine Brewer, Emperor: Robert Dean Smith, Barak: Franz Hawlata. Ed
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