“It’s a nice little thing, but I wouldn’t want to see it again.” This
was the verdict on Ravel’s L’Heure Espagnole, currently at the Royal
Opera House in a double bill with Puccini’s Gianni Schicchi, of an
exquisitely dressed but sour faced harridan in the orchestra stalls.
One could say the same of her pinched but pretty face perhaps.
I would happily see L’Heure again in its current incarnation, a
revival of Richard Jones’ 2007 production. Ruxandra Donose gets as
much comedy as she can from Concepcion, the clockmaker’s frustrated
wife, who is plagued by unsatisfactory lovers until she finally
realises that the answer to her prayers is under her nose in the
person of the muscular muleteer Ramiro (Christopher Maltman). The
physical comedy in the farcical shifting of the clocks (concealing
the two hopeful lovers) slightly upstages Ravel’s music but this is
no fault of Antonio Pappano.
Schicchi is the story of the grasping, snobbish Donati family; all of
whom are hell bent on inheriting the estate of the fast fading
invalid, Buoso. Neighbour Gianni Schicchi’s daughter, Lauretta, is in
love with a young Donati but not considered good enough. When the
family try to make use of Gianni’s cunning to change Buoso’s will, he
soon spots a suitable way to solve his daughter’s problem. Maria
Bengtsson is excellent as Lauretta and I would very much like to hear
her sing ***** again.
John Macfarlane’s two intricate set designs both make use of the full
width of the Opera House stage. Torquemada’s clock workshop is a
little too cluttered in L’Heure but Buoso’s gloomy death chamber is
just right.
It is easy to see why this double bill has been revived – just steer
clear of the orchestra stalls when you go.
L’Heure Espagnole/Gianni Schicchi runs until 28 October.
