Sickly sweet: Ambroise Thomas’ Mignon from New Sussex Opera

One of the odd gifts of reviewing opera regularly is that you are sometimes exposed to violently clashing influences within the space of a few days. On Friday, I was enveloped in the passionate intensity of Fulham Opera’s bleak, immersive Der fliegende Holländer; on Tuesday, I found myself at New Sussex Opera’s community production of Ambroise Thomas’s unrepentantly twee romance Mignon. It was rather like tucking into the finest Chateaubriand steak, before turning to a shelf-stale vanilla cupcake laced with inch-thick pink icing.

Thomas’ score sounds exactly as you would expect. The exception is Philine’s extraordinary, dazzling Titania aria, which blazes like a Roman candle of originality in the otherwise beige fog of multipurpose music-that-sounds-Romantic-and-French. It was all nicely done; I felt just inexpressibly bored, as cardboard scene morphed into cardboard scene, the paper-thin plot wilting away in front of me as the hours stretched ahead. Like a doll you have to shake hard to make its eyes open, Mignon will calmly suck up all a director’s energy and ideas, and still only stumble across a stage: I still found myself drawn in eventually, rather like a bad film that you accidentally light upon while scrolling through the TV channels with a hangover, and find yourself still watching 45 minutes later, inexplicably mesmerised. But if this really was all opera had to offer today, I would give up.

Click here to read my full review on Bachtrack.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s