The Love of Money

Ditlev Rindom

viernes, 23 de abril de 2010

London, sábado, 27 de febrero de 2010.

The Royal Opera House, Covent Garden. Sergei Prokofiev, The Gambler. Richard Jones, director. Antony McDonald, set designs. Nicky Gillibrand, costume designs. Mimi Jordan Sherin, lighting design. Sarah Fahie, movement director. William Reynolds, projection design. Roberto Sacca (Alexey Ivanovitch), Angela Denoke (Paulina), John Tomlinson (The General), Jurgita Adamontyne (Blanche), Kurt Streit (The Marquis), Mark Stone (Mr Astley), Jeremy White (Baron Wurmerhelm), Emma Bernard (Baroness Wurmerhelm), Susan Bickley (Babulenka), Dawid Kimberg (Potapitch), John Easterlin (Prince Nilsky), Elisabeth Meister (Pale Lady), Simona Mihai (Gaudy Lady), Carol Rowlands (Lady Comme Ci Comme Ca), Kai Ruutel (Venerable Lady), Elizabeth Sikora (Dubious Old Lady), Jeffrey Llody-Roberts (Rash Gambler), Steven Ebel (Hypochondriac Gamler), Alasdair Elliott (Hunchback Gambler), Lukas Jakobski (Tall Englishman), David Woloszko (Fat Englishman), John Cunningham (Aged Gambler), Luke Price, Andrew O´Connor, John Bernays, Jonathan Coad, Olle Zetterstrom, Michael Lessiter (Six Gamblers), Graeme Danby (Casino Director), Hubert Francis (First Croupier), Robert Anthony Gardiner (Second Croupier). Orchestra and Chorus of the Royal Opera House, Covent Garden. Renato Balsadonna, chorus director. Antonio Pappano, conductor

Russian opera appears to be having a field-day at Covent Garden at the moment. Earlier this year we had the chance to encounter Chaikovsky´s little-heard Tsarina’s Slippers; in the line-up for next season is a new production of The Tsar’s Bride, perhaps Rimsky-Korsakov`s best-known opera and featuring a largely Russian cast. In between comes The Gambler, Prokofiev’s early work which adapts Dostoyevsky to depict a society obsessed with the lure of money, and in which personal relationships are sacrified on the bed of financial gain. Like The Rake’s Progress before it, it makes a curiously apposite choice for an opera in 2010´s economic climate.Like many of his compositions, The Gambler draws upon a musical vocabulary ideally suited to portraying the world of the casino: the skittish, motoric rhythms which enact the relentless spinning of…

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