The 2021-2022 season of The Metropolitan Opera in HD Live was an interesting one and better than expected, considering that it had to contend with the pandemic and then everything with the Ukranian that saw the termination of Anna Netrebko. It wasn't a consistent season, with most of the productions falling into the uneven but often impressive category. There were productions that fell into the good and bad extremes, was blown away by 'Fire Shut Up in My Bones' and loved 'Cinderella' but found 'Lucia Di Lammermoor' an utter disappointment despite being admirable musically.
'Hamlet' is the third contemporary opera of the season, after 'Fire Shut Up in My Bones' and 'Eurydice'. Despite being familiar with the story beforehand, with it being based on one of Shakespeare's finest plays, 'Hamlet' is my easy least favourite of the three and is one of those appreciate rather than love kind of operas that is not to my taste. There is very clever use of instrumentation and atmosphere musically, though the music itself is not the most memorable and is on the austere and one dimensional side, while the story adaptation is uneven. With a dull and overlong first act and a rushed murder plot as a consequence of the trimmings to the story. About the production itself, there is actually a lot to admire. Namely the performances and the musical values. Just that my not being able to properly take to the opera worked against it.
It is not a perfect production. Some of the comic relief actually did feel like overdone mugging and felt like it didn't belong, the comedy in fact is actually supposed to be there but there is just too much of an out of place and jarring feel in performance. The production also doesn't overcome the issues with the first act, which did drag for my tastes too much, and is not always easy to understand. Despite the composer's intentions, the opera doesn't do enough of a good job delving into Hamlet's state of mind.
Also would have liked to have connected to it more emotionally, there are moments such as Ophelia's mad scene but that is emphasis on moments. Some of the camerawork is too claustrophobic with an over reliance on too up close close ups.
Despite how all of that sounds, there is actually a lot that is good. Cannot fault the performances, with Allan Clayton being absolutely amazing vocally and dramatically in the title role. A major highlight being in the scene with Gertrude, he does intensity and anguish with fire and poignancy. Brenda Rae in a matter of months goes from being the weak link of 'Ariadne Auf Naxos' to providing some of the production's best singing here, her vulnerability is very moving to see and she is in radiant voice, her high notes soaring a lot more. Rodney Gilfry is a vocally sonorous and commanding Claudius, providing the right amount of menace.
Sarah Connolly is a rich voiced, scheming and at times tortured Gertrude, shining especially with Clayton. John Relyea is in three roles and he is particularly good as the Ghost, proving once again after being a high point of the Met's uneven 'Don Carlos' that he can do terrifying superbly. William Burden does pompous and wise expertly, though my idea of Polonius for some reason is baritone or bass baritone. David Butt Phillip once again in a busy season for him proves that he is one to watch.
Can't fault the orchestral playing either, with lots of beautiful playing throughout. Did like the clever layout that gave off an effective surround sound quality. The chorus sing and act beautifully, though what they are given is actually not very much of note. The conducting is alert yet sympathetic enough. The production values are very atmospheric in a moody, unsettling way, without being too grim, and keeping things intimate and unobtrusive was a good move. The staging sees a lot of great character interaction, a very well done atmosphere and well-choreographed action, though that the opera's libretto is not that engaging works against it somewhat.
Overall, interesting and with a good deal to like but a very appreciate it rather than love production of an opera that isn't quite my cup of tea. 6.5/10.
'Hamlet' is the third contemporary opera of the season, after 'Fire Shut Up in My Bones' and 'Eurydice'. Despite being familiar with the story beforehand, with it being based on one of Shakespeare's finest plays, 'Hamlet' is my easy least favourite of the three and is one of those appreciate rather than love kind of operas that is not to my taste. There is very clever use of instrumentation and atmosphere musically, though the music itself is not the most memorable and is on the austere and one dimensional side, while the story adaptation is uneven. With a dull and overlong first act and a rushed murder plot as a consequence of the trimmings to the story. About the production itself, there is actually a lot to admire. Namely the performances and the musical values. Just that my not being able to properly take to the opera worked against it.
It is not a perfect production. Some of the comic relief actually did feel like overdone mugging and felt like it didn't belong, the comedy in fact is actually supposed to be there but there is just too much of an out of place and jarring feel in performance. The production also doesn't overcome the issues with the first act, which did drag for my tastes too much, and is not always easy to understand. Despite the composer's intentions, the opera doesn't do enough of a good job delving into Hamlet's state of mind.
Also would have liked to have connected to it more emotionally, there are moments such as Ophelia's mad scene but that is emphasis on moments. Some of the camerawork is too claustrophobic with an over reliance on too up close close ups.
Despite how all of that sounds, there is actually a lot that is good. Cannot fault the performances, with Allan Clayton being absolutely amazing vocally and dramatically in the title role. A major highlight being in the scene with Gertrude, he does intensity and anguish with fire and poignancy. Brenda Rae in a matter of months goes from being the weak link of 'Ariadne Auf Naxos' to providing some of the production's best singing here, her vulnerability is very moving to see and she is in radiant voice, her high notes soaring a lot more. Rodney Gilfry is a vocally sonorous and commanding Claudius, providing the right amount of menace.
Sarah Connolly is a rich voiced, scheming and at times tortured Gertrude, shining especially with Clayton. John Relyea is in three roles and he is particularly good as the Ghost, proving once again after being a high point of the Met's uneven 'Don Carlos' that he can do terrifying superbly. William Burden does pompous and wise expertly, though my idea of Polonius for some reason is baritone or bass baritone. David Butt Phillip once again in a busy season for him proves that he is one to watch.
Can't fault the orchestral playing either, with lots of beautiful playing throughout. Did like the clever layout that gave off an effective surround sound quality. The chorus sing and act beautifully, though what they are given is actually not very much of note. The conducting is alert yet sympathetic enough. The production values are very atmospheric in a moody, unsettling way, without being too grim, and keeping things intimate and unobtrusive was a good move. The staging sees a lot of great character interaction, a very well done atmosphere and well-choreographed action, though that the opera's libretto is not that engaging works against it somewhat.
Overall, interesting and with a good deal to like but a very appreciate it rather than love production of an opera that isn't quite my cup of tea. 6.5/10.
