How could a designer, director, and lighting team do so well in acts 1 & 2 and so poorly in act 3.
BAD lighting, bad movement, lack of creativiity re use of large group with horns. Could have used some daring dancers to spark the much more lack-luster music of the third act. LIke night and day.
The acting within the arias was generally acceptable but not particularly creative. The stage
directions for non-singers (except for the child for the most part) and singers when not acting was either not clear, overdone, or static--especially the marching troups (?) or prisoner guards (?). Elevation distinctions could have been used more often.
Lighting was boring.
To make this libretto interesting is certainly a challenge. One possibility you might wish to consider is doing it in modern style with, perhaps, a film background suggesting the complication of thoughts and feelings behind and between the repeated words in each aria as well as the background war details for the men.
One could not ask for better singing. Not even a hair flat thoughout (with only one instantaneous exception) and richly nuanced. This plus saved the night.
The Metropolitan Opera: Falstaff...
The Metropolitan Opera: Rodelinda
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