Comments by Tony Berry on 23 July 2007 at 20:28
Another "better than ever" Festival; I appreciated the recitals especially Alice Coote. Such a warm golden tone; beautiful diction and lovely artistry.
But: especial thanks to Glyn Foley and the team for "smooth running". This does not come easy.
And thanks too for the well produced and informative Programme book. A nice piece of design and presentation too.

Comments by Mark Billen on 20 July 2007 at 17:28
'Roberto Devereux' - superb in every respect. 'Bluebeard' - so funny and so inventive. What a shame these two productions will not be seen again.

Comments by OperaNut on 20 July 2007 at 11:32
Interesting that King Arthur has divided contributors to this board. Personally I thought the trapeze artists, though mesmerising, added nothing, indeed overburdened the otherwise successful production concept. It's true there were musical (and speaking) flaws, maybe too many for comfort. But what music! Wonderful to have a chance to hear it in a stage production; long may Buxton stick its operatic neck out.

Comments by Nigel Russell on 18 July 2007 at 09:18
Tuesday 17th July - a day of contrast. Firstly King Arthur. The two gymnasts were absolutely stunning and completely let down by the rest of the cast. The music wasn't played particularly well, the singing was not always in tune and was, apart from an excellent baritone, feeble. The lead tenor fluffed his lines. However, perhaps this was all due to the insecurity with the production. The dialogue between numbers was dire. An amateur company would have produced better results.
Roberto Devereux, the other hand, was incredible. After last year's two disastrous Buxton Festival productions, this production has really put Buxton on the international stage. A production worthy of Covent Garden in every respect. Exquisite singing, tight playing, superb costumes and set design. The 'side-titles' worked well too. I look forward to Bluebeard tonight. If this is what the new artistic director is bringing to Buxton, I look forward to the years ahead.

Comments by Liz Chaplin on 17 July 2007 at 09:37
Two lovely evenings. Felicity Lott's wonderful singing of French songs - not to mention Cole Porter! and the next night, Romeo & Juliet. The first UK performance for 200 years and well worth the wait. Part of music history brought to us by Buxton and Bampton. A beautifully directed and sung production with a 'twist' at the end. More please.

Comments by Richard Woodall on 16 July 2007 at 13:09
This Festival just keeps getting better and better. What a fascinating and brilliantly executed programme, with two wonderfully contrasting main event operas. Stephen Medcalf's unfussy but sharply observed direction of 'Roberto Devereux' surely now places this piece at the forefront of Donizetti's achievements. Wonderful casting (special praise for Mary Plazas' breathtaking pianissimi) that would grace any opera house stage in the world at a fraction of the cost. Inspiring to see that Buxton almost single-handedly treats this composer with the respect he deserves.
'Bluebeard' was the perfect riotous antidote in Annilese Miskimmon's hilarious, bang-up-to-date production.
Congratulations again, Buxton, in leaving the Festival competition standing.

Comments by Lynne Spencer on 10 July 2007 at 20:16
Roberto Devereux (9 July)- brilliant. Inspired production, particularly Elizabeth's "descent" from the stage at the end. Mary Plazas is amazing - fantastic voice and stage presence. I hadn't seen the opera before - it certainly isn't one of the justly neglected ones! It's full of beautiful music, particularly the prelude to Act3 Scene 2 and Roberto's aria in the Tower.
Bravo Buxton!

Comments by Dr. John Casson on 10 July 2007 at 15:40
Yesterday I saw Purcell's King Arthur at Buxton. It was excellent and really worked. I thought the 1st World War metaphor transformed what can seem a silly relic into a powerful and poignant opera. I thought the singing and music wonderful, the whole piece a great work of art. Well done!
The acrobats were skilled and interesting to watch but I felt they needed to be tied into the idea: on reflection I thought they might be the faded grandeur of Edwardian England: the vaudeville of Empire: (the Empire Theatre so to speak). However this is an after thought and at the time I was puzzled as to what they were up to.
But why only two performances?

Comments by Lynne Levey on 09 July 2007 at 19:34
My husband and I saw the Marriage of Figaro last night. It was wonderful. The youthful cast brought a freshness to this, one of my favourites. It was very very funny too, and I thought the set with many doors and simple furniture was superb. Susannah was delightful, the Count suitably lustful and the Countess, being a little on the youthful side for such a mature roll carried it off perfectly. The scene with her singing in the bath was a stroke of genius on the part of Jo Davies,the director. Having said all that, for me the very best aria was one I have never seen performed before and sung beautifully by Marcellina, Sally Harrison. I have seen Figaro three times now, this was, without doubt the very best.

Comments by John Hilton on 08 July 2007 at 15:18
A magnificent performance of "Roberto Devereux" on Friday night. A traditional production, but not stodgy or static, and excellently sung, acted and played. The "choreography" of the opening sinfonia was inspired, as was the mirroring of it at the end of the opera. Last night's "Bluebeard" was another great success; a wonderfully inventive production which worked in all respects.

Comments by eric bennison on 07 July 2007 at 10:31
really enjoyed roberto devereux last night wondeerfully staged and performed.congratulations.

Comments by Jo Thornton on 16 July 2007 at 09:37
The audience cheering an opera performance on a Monday night in Buxton - I can think of several people who will have "turned in their graves " - with joy.
Wyn Davies happily romped through Bluebeard; is the photograph on P.29 of the brochure a foretaste of Wyn in 20 years' time on a cold day?
Now that plastic bags are "out" could the Festival shop come up with a large, useful but happy bag, so that we can shop without feeling like Granny?
Congratulations to all concerned with the Festival.

Comments by J Young on 14 July 2007 at 22:17
We saw Romeo and Juliet - a fascinating adaptation of the story, presented with immense visual beauty and musical quality. To present a UK premiere of a historic opera is a real credit to Buxton. Bravo Bampton Classical Opera and Buxton!

Comments by Jim Robinson on 12 July 2007 at 23:36
Roberto Devereux – true romanticism
In the mature operas of Donizetti certain characteristics became more accentuated; scenes became more continuously musical and expressive as a result of the density of arioso packed into them, more weight was placed on the ensemble, especially on the duet of confrontation (and Roberto Devereux certainly has its share of these), and less on the solo aria. Remarkable results are achievable and none more so than in this Buxton production. A leading example is in the cantabile of the Act II duet; lyrical song gives way to arioso, and arioso to recitative, so that the climax – Nottingham’s appeal for mercy – becomes starkly dramatic and not transfigured into song, his fury is only eclipsed by that of the Queen. This is brilliantly executed in this production as is the duet at the beginning of Act III between Nottingham and Sarah where the situation becomes almost unbearably tense. Rarely do the main characters appear to so fully understand and sympathise with their roles as do Sarah Bickley, David Kempster and Todd Wilander with theirs – and they can act too! Clarity of diction also was exceptionally good. But special mention must be made of Mary Plazas who is required to bridge her intimate emotions with those of royal duty. She accomplishes this with an uncanny insight, at the same time treating the audience to some fine singing in true bel canto tradition.
To give expression to the growing and accelerating crisis through three Acts requires scrupulous attention to every nuance of this surprisingly spare and lean score and Andrew Greenwood and the NCO propel the drama with precise momentum. Without this driving force the whole opera would have the impetus of a three-legged racehorse and become melodrama rather than harrowing tragedy. As it is, we are treated to a memorable rather than a merely routine production. The whole is authentically costumed and imaginatively lit and designed, the latter very simply and effectively focusing the action on the protagonists without visual distraction.
Congratulations are due to all concerned

Comments by Jennie Ball on 11 July 2007 at 10:03
Congratulations to Andrew Greenwood in his first year as Buxton's new Artistic Director. What a great programme this year. I wait with anticipation for Friday - Devereux. Bluebeard is a fun romp with a great cast of excellent singers, King Arthur was superbly presented with its 1st War setting - very emotional and again excellent singing. Tobias and the Angel is a triumph. Once again Michael Barry has achieved an excellent staging of this Jonathan Dove composition. The casting of Philip Jones as Raphael was inspired and the young cast and local schools and Buxton residents gave a wonderful performance - this is community opera at its best - I urge all to see it. So far all the talks have been first rate - well done to all the people behind the scenes who have achieved another great Buxton Festival.

Comments by Lynne Spencer on 10 July 2007 at 20:16
Roberto Devereux (9 July)- brilliant. Inspired production, particularly Elizabeth's "descent" from the stage at the end. Mary Plazas is amazing - fantastic voice and stage presence. I hadn't seen the opera before - it certainly isn't one of the justly neglected ones! It's full of beautiful music, particularly the prelude to Act3 Scene 2 and Roberto's aria in the Tower.
Bravo Buxton!

Comments by Dr. John Casson on 10 July 2007 at 15:40
Yesterday I saw Purcell's King Arthur at Buxton. It was excellent and really worked. I thought the 1st World War metaphor transformed what can seem a silly relic into a powerful and poignant opera. I thought the singing and music wonderful, the whole piece a great work of art. Well done!
The acrobats were skilled and interesting to watch but I felt they needed to be tied into the idea: on reflection I thought they might be the faded grandeur of Edwardian England: the vaudeville of Empire: (the Empire Theatre so to speak). However this is an after thought and at the time I was puzzled as to what they were up to.
But why only two performances?

Comments by Lynne Levey on 09 July 2007 at 19:34
My husband and I saw the Marriage of Figaro last night. It was wonderful. The youthful cast brought a freshness to this, one of my favourites. It was very very funny too, and I thought the set with many doors and simple furniture was superb. Susannah was delightful, the Count suitably lustful and the Countess, being a little on the youthful side for such a mature roll carried it off perfectly. The scene with her singing in the bath was a stroke of genius on the part of Jo Davies,the director. Having said all that, for me the very best aria was one I have never seen performed before and sung beautifully by Marcellina, Sally Harrison. I have seen Figaro three times now, this was, without doubt the very best.

Comments by John Hilton on 08 July 2007 at 15:18
A magnificent performance of "Roberto Devereux" on Friday night. A traditional production, but not stodgy or static, and excellently sung, acted and played. The "choreography" of the opening sinfonia was inspired, as was the mirroring of it at the end of the opera. Last night's "Bluebeard" was another great success; a wonderfully inventive production which worked in all respects.

Comments by eric bennison on 07 July 2007 at 10:31
really enjoyed roberto devereux last night wondeerfully staged and performed.congratulations.

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