VIEWS: 3 PAGES: 2 CATEGORY: Humanities POSTED ON: 6/18/2010
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The Fairy Queen at Glyndebourne Photo: Bill Copper 3 - The Fairy Queen – View 1 he was paid per word. This is not a so much a It’s unfair to single out anyone, as all were criticism more an observation, that any of the good and the cast is huge, but among the actors lifesize gold horse upon which a glittering last six short scenes could easily have satis- Desmond Barrit as Bottom and Jack Chissick A knight astride it starts to sing descends from the ceiling, a twelve foot gleaming gold fig factorily wrapped up the action. This is not an opera, more a play with as Snout have comic timing in spades whilst sopranos Lucy Crowe and Carolyn Sampson, tree rises with naked Adam and Eve (with fig singing and dancing accompaniment, with a and bass Andrew Foster-Williams made the leaves) eating apples, a fish-headed gondolier large cast of singers, dancers and actors. Even to ticket price worthwhile alone. The singers did punts Titania and Bottom downstream, or two call it a play is technically wrong as it’s a not inhabit the characters, rather were they dozen life size pink and white fluffy bunnies masque – that is, a series of set pieces linked called upon to sing an aria or occupy a passing copulating in what must be all the positions of together, four in total; parts of which are role and then return next time for something the Kama Sutra. Only in opera! In the 1690s, mentioned above. else, which confused slightly. thirty years after the restoration allowed back Purcell’s play of 1692 comes a full century William Christie at the harpsichord and the speech to our theatres, like a champagne cork after Shakespeare’s. The unknown librettist Orchestra of the Age of Enlightenment wit
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