Knighton Opera
Rigoletto
Leicester Mercury Letters – 28 Sep 2022
Knighton Opera have done it again with Rigoletto: counjering up a gripping account of a 19th century operatic masterpiece. Gripping? Yes. Mainly because the principals had the musical and dramatic talent to get inside their characters and their predicament, and thus do more than just sing us a few songs. Where to begin? The Duke of Mantuais one of three emotional centres in this work: his immorality is clear from the outset and yet he is more, much more, than merely a philanderer.Richard Roddis perfectly caught the witty, likeable side to him as well, so much so that when we got to La donna e mobile we were almost in smiling agreement with his sentiments.And when this developed into one of Verdi’s stunning quartets, Bella figlia dell’ amore, we fully caught both the subtlety and the agony of each character’s feelings. Earlier, Robert Clark had brought a dramatic chill to the moment when Count Monterone curses the Duke and his whole licentious court for the seduction of his daughter.The Duke, of course, is blithely unconcerned, but Rigoletto, until now a minor character, cannot shake off his foreboding, and because of his growing regret becomes the personage around whom the tragedy develops.His meeting with Sparafucile, sung here with resonant, chilling menace by Andrew Robinson, darkens the tone, which is only temporarily relieved by the appearance of Rigoletto’s daughter Gilda, our second centre of emotion and action.There is only one word to describe Debie Dubberley’s performance here: Wow! Dramatically she lived that part; musically she swept us away, she bowled us over, she – choose your own cliche: it will be apposite! From her entire performance I must single out Caro nome che il mio cor. I have never heard it so movingly, so beautifully simple, or do I mean so simply beautiful?
Il Trovatore
Leicester Mercury Letters – 2 Oct 2018
Roger Cairns, Swannington.
What a jewel we have among us. With Il Trovatore, Knighton Opera have just served up another memorable evening. Andrew Robinson’s powerful Captain certainly caught our attention from the off, and Chris Marlow became increasingly convincing as the “Baddie” Count. But it was the lovers who were the heart of the drama, and Richard Roddis in the title role and the amazing Michelle Carlin enchanted with their singing.Yes, it’s and absurd story, but turned to gold by Verdi, particularly in his ensembles, and it is here above all that conductor Paul Jenkins created an occasion that was both musically and dramatically moving. What’s next? Can’t wait.
La Bohème
Leicester Mercury Letters – 2 Oct 2016
Richard Gill.
A good test of any musical performance is whether we feel we have been given the work, whether we come away with a renewed sense of its delight and value. If we apply this test to the Knighton Opera Group’s performance of Puccini’s La Boheme, the muicians and singers easily pass. The orchestra, under the direction of Paul Jenkins, played with zestful drama, leading the audience through the opera’s varied emotional landscape. Chris Marlow’s Marcello sang with a fittingly masculine force, and Alexander Anderson-Hall’s Rodolfo was questioning and sensitive. Mimi, the central part, was given both force and an appealing vulnerability by Michelle Carlin, and Nicky Bingham gave Musetta an attrractive yet dangerous edge. It should be stressed that the success of the performances owed much to the soloists acting ability. The chorus was convincingly festive in the scene that is set on Christmas Eve. High praise came from a member of the audience, who said that the performance was as enjoyable as the last time he had seen it-and that was at the Metropolitan Opera in New York!