La Calisto (Royal Opera)

I've no idea what the creative team were smoking when they planned "La Calisto" but boy did it produce something original. When I think of early opera, neon colours and chorus girls aren't exactly what spring to mind but in this production anything goes. It's not entirely successful, often hysterical but rarely emotive, but they've tried something different and it's mostly worked.

The singing was never less than good. I wasn't overly convinced by Markus Werba who failed to make much of an impression as Mercurio. His voice was decent but lacked strength and despite his gold get-up he wasn't particularly interesting as a character. Umberto Chiummo didn't start overly well but warmed up to produce a suave but slimey performance as Giove. Those who did get it right, really got it right. Sally Matthews looks absolutely ravishing as Calisto and matches her curves with a wonderous voice. Her rich, honeyed middle register soars vibrantly as she shifts higher. The best performance I've heard from her by some margin. Monica Bacelli has incredible comic timing, managing a hysterical Diana (a "chaste" goddess). Her lover (she's not "chaste" by most standards) Lawrence Zazzo is gifted some wonderful music which he delivered with simmering loveliness. His clarion counter-tenor ringing out through the theatre. Vèronique Gens doesn't have a great deal to do but what she has, she delivers superbly. The farcical comedy is well served by Dominique Visse's repellent Satirino, plastic genitals swinging around with dangerous intent, couldn't be funnier and he makes something of the rather shrill part. Guy de Mey gets the pantomime dame part and does it with great flair and one suspects he's rather enjoying himself.

The production works brilliantly to the uninitiated but I have to question how it would stand up were the opera better known. Designs of this type would be analysed and likely shredded (by some) were they applied to a Mozart. Ultimately this doesn't matter, it's a great night out but I suspect there's more in the music than this production really puts across. It's consistently funny but when the piece shifts into more enchanting territory the production rather lets it down. Endimione has a couple of luscious arias but here they are largely played for comedy, Diana wiping herself down after their little tryst gets a huge laugh but undercuts the emotion. The designs are a thing to behold however, neon colours and stark wavy lines, I've never come across anything like it at the Royal Opera. The costumes too are incredible, the chameleon is a wonder, and there are some lovely costumes for Diana's young, female followers. The finale is let down a little, the music leads towards an apotheosis of sorts but the staging didn't really follow.

A cracking night at the Opera, superb vocals, an incredible orchestra under Ivor Bolton (a mix of the Orchestra of the Age of Enlightenment and The Monteverdi Continuo Ensemble) and endlessly inventive visuals. I feel there has to be more to this work than the pure comedy that this production delivers, but as entertainment goes, I wouldn't describe this as suffering.