When you go to a student opera production, even at an institution as prestigious as the Royal Academy of Music, you don't expect to see one of the opera world's conducting legends in the pit. But that's precisely what we had at last night's performance of Berlioz's Béatrice et Bénédict, in the shape of Sir Colin Davis (CH, CBE), a man with several thousand opera performances on the clock.
Davis gave us a masterclass in conducting. I'm sure that many of the singers will go on to have long and fruitful careers, but it may be a long time before they are in a production in which all elements of the orchestra, soloists, chorus and even on-stage guitar are so perfectly balanced. And Berlioz's delicious music was conducted with a lightness of touch that was a pure delight.
Based on Shakespeare's Much Ado about Nothing, Béatrice et Bénédict is an unusual animal. Although written around 1860 at the height of the Romantic era, its vocal style is unashamedly bel canto - albeit with an accent that is totally French. The opera is constructed as a series of totally discrete musical numbers which each provide a vehicle for beautiful singing, interspersed with chunks of dialogue. For an English audience, the Royal Academy sensibly chose to do the dialogue in English (most of it the original Shakespeare text) and the musical numbers in French. But since the musical numbers are quite long in relation to their equivalents in the play, Berlioz was forced to drastically prune the plot (omitting, for example, the entire character of Don John and his machinations). The result is a sort of "vocal suite from Much Ado about Nothing" rather than a proper fully dramatic opera.
But that shouldn't be allowed to put you off. As long as you know the original Shakespeare, the scenes are thoroughly effective in enlightening the characters, and the music is utterly ravishing. There are elegant arias for each of the main roles, some rumbustious chorus numbers (especially the hymn to Sicilian wine that opens the second act), and a glorious single sex trio in each act - the men in the first and the women in the second - each of which showed lovely counterpoint between the different voice types.