Post by Cia on Feb 12, 2010 9:47:43 GMT -5
Az Operaház Fantomja - Madách Színház, Budapest
Wednesday, February 10th 2010
Phantom: Csengeri Attila
Christine: Krassy Renata
Raoul: Magyar Bálint
Carlotta: Pándi Piroska
Piangi: Rozsos István
André: Barát Attila
Firmin: Galbenisz Tomasz
Madame Giry: Bencze Ilona
Meg Giry: Várady Viktória
Bouquet: Barabás Kiss Zoltán
Reyer: Laklóth Aladár
Lefevre: Lőte Attila
Kikiáltó: Horesnyi László
I'm not a huge fan of Andrew Lloyd Webber, but PotO is my favourite of his musicals and besides Cats and Sunset Blvd. the only one I really like, especially music-wise. I've seen PotO once before, in London, and apart from the Phantom himself the Hungarian production was a more impressive experience.
The production is probably the only one in at least Western countries that looks different than the original production, and I must say I prefer the Hungarian look. I had quite high expectations because Kentaur has designed the sets and costumes and I've loved everything else I've seen from him this far, and I definitely wasn't disappointed this time, either. The visual look is more realistic and beautiful and somehow lighter (as opposite to heavy) than the original that slowly starts to have quite a 1980's air in it. Generally it's refreshing to see something newer than the sets and costumes I already know too well. My favourites were the lake and the Phantom's cave, the classy office of André and Firmin, the Opera House's roof, and Point of No Return which took place in gorgeus monastery-like sets. Here are some photos, but they are mostly of the actors and the colours look brighter than in reality.
Attila Csengeri was probably the whiniest and most baby-like Phantom I've ever seen. If Christine had stayed with him, she would have had to tie his shoelaces, hold the handkerchief and tell him to blow his nose, and generally be his mother. He was so whiny that the sudden bursts of rage couldn't be taken seriously anymore, because he was basically just a kid whose mother hadn't bought him candy. I wanted to slap him and tell him to pull himself together. He wasn't even lunatic and angry enough for my taste, just a pathetic angsty case who couldn't really take care of himself. Besides, his voice definitely wasn't enough for the role and he wouldn't have seduced anyone with it. He looked quite good in black leather trousers, and that's pretty much all the positive I can say about him.
It was interesting how Christine-centered the performance was, at least for me and with this cast. Christine (Renata Krassy) wasn't the air-headed innocent victim she usually is - this Christine had a good deal of common sense and a will of her own. Had she had a chance to fight with Carlotta, she would have told the diva to shut up and f*ck off. I really strongly got the feeling that the story was mostly about Christine and her attempt to get over the death of her father. It sometimes even felt like the Phantom-parts of the story were mostly happening inside her head, and for her the Phantom really was the Angel that her father had sent. At its strongest the image was in "Masquerade". You know there's a part in which Christine dances a wild twirling dance with Phantom-like masked people? In this production the rest of the cast was frozen during it, so it really seemed like Christine's dream that she was experiencing in completely her own world, a bit like Elisabeth sees the Death in "Der letzte Tanz". After it she ran horrified through the groups of still people and woke them up again by touching them. I've never really cared for Christine, she's usually been one of the most boring heroines out there, but now I was actually fascinated by the character. Krassy also sang well, although I've also heard better Christines.
Bálint Magyar was a good Raoul with very believable Raoul-like looks and a nice voice. Raoul wasn't an idiot or a fop or anything, just a normal sensible young nobleman who likes this girl he has known when they were kids. I usually say that Raoul and Christine deserve each other in all their brainlessness, but in this case they made a very good couple because both could think and were equal. One detail I really liked was in the end of "All I ask of you" when Raoul and Christine kiss. He didn't just jump on her and give her a big smack; they both hesitated, left each other time to back out if they wanted to, and in every way made it look like their first very careful kiss.
I liked the rest of the cast, too. André was adorable, and Carlotta had impressive croaks. And I do mean croaks, she wasn't just going "graah" but really imitated a frog very well.
Another detail I have to mention is the very ending with Meg Giry. I've never liked the original "Now I make a very exaggerated half-kneeling ballet pose and lift this mask theatrically up so that everyone can see it", so I was very glad to see Meg take the mask and the rose, put them on the ground, and then kneel behind them with her head slightly bowed as if she was mourning/praying for the Phantom.
I also liked it how instead of the Christine-dummy the Phantom had dummies of both himself and Christine inside a mirror, and when he gestured they started to move mechanically and the "Phantom" kissed the "Christine".
I bought tickets also for next Tuesday, when there's supposed to be Viktor "Herbert in Vámpírok bálja" Posta as the Phantom and Gábor "2nd Krolock in Vámpírok bálja" Bot as Raoul. The combination sounds extremely interesting, and since they both can sing and act I hope I'll really see them.
Wednesday, February 10th 2010
Phantom: Csengeri Attila
Christine: Krassy Renata
Raoul: Magyar Bálint
Carlotta: Pándi Piroska
Piangi: Rozsos István
André: Barát Attila
Firmin: Galbenisz Tomasz
Madame Giry: Bencze Ilona
Meg Giry: Várady Viktória
Bouquet: Barabás Kiss Zoltán
Reyer: Laklóth Aladár
Lefevre: Lőte Attila
Kikiáltó: Horesnyi László
I'm not a huge fan of Andrew Lloyd Webber, but PotO is my favourite of his musicals and besides Cats and Sunset Blvd. the only one I really like, especially music-wise. I've seen PotO once before, in London, and apart from the Phantom himself the Hungarian production was a more impressive experience.
The production is probably the only one in at least Western countries that looks different than the original production, and I must say I prefer the Hungarian look. I had quite high expectations because Kentaur has designed the sets and costumes and I've loved everything else I've seen from him this far, and I definitely wasn't disappointed this time, either. The visual look is more realistic and beautiful and somehow lighter (as opposite to heavy) than the original that slowly starts to have quite a 1980's air in it. Generally it's refreshing to see something newer than the sets and costumes I already know too well. My favourites were the lake and the Phantom's cave, the classy office of André and Firmin, the Opera House's roof, and Point of No Return which took place in gorgeus monastery-like sets. Here are some photos, but they are mostly of the actors and the colours look brighter than in reality.
Attila Csengeri was probably the whiniest and most baby-like Phantom I've ever seen. If Christine had stayed with him, she would have had to tie his shoelaces, hold the handkerchief and tell him to blow his nose, and generally be his mother. He was so whiny that the sudden bursts of rage couldn't be taken seriously anymore, because he was basically just a kid whose mother hadn't bought him candy. I wanted to slap him and tell him to pull himself together. He wasn't even lunatic and angry enough for my taste, just a pathetic angsty case who couldn't really take care of himself. Besides, his voice definitely wasn't enough for the role and he wouldn't have seduced anyone with it. He looked quite good in black leather trousers, and that's pretty much all the positive I can say about him.
It was interesting how Christine-centered the performance was, at least for me and with this cast. Christine (Renata Krassy) wasn't the air-headed innocent victim she usually is - this Christine had a good deal of common sense and a will of her own. Had she had a chance to fight with Carlotta, she would have told the diva to shut up and f*ck off. I really strongly got the feeling that the story was mostly about Christine and her attempt to get over the death of her father. It sometimes even felt like the Phantom-parts of the story were mostly happening inside her head, and for her the Phantom really was the Angel that her father had sent. At its strongest the image was in "Masquerade". You know there's a part in which Christine dances a wild twirling dance with Phantom-like masked people? In this production the rest of the cast was frozen during it, so it really seemed like Christine's dream that she was experiencing in completely her own world, a bit like Elisabeth sees the Death in "Der letzte Tanz". After it she ran horrified through the groups of still people and woke them up again by touching them. I've never really cared for Christine, she's usually been one of the most boring heroines out there, but now I was actually fascinated by the character. Krassy also sang well, although I've also heard better Christines.
Bálint Magyar was a good Raoul with very believable Raoul-like looks and a nice voice. Raoul wasn't an idiot or a fop or anything, just a normal sensible young nobleman who likes this girl he has known when they were kids. I usually say that Raoul and Christine deserve each other in all their brainlessness, but in this case they made a very good couple because both could think and were equal. One detail I really liked was in the end of "All I ask of you" when Raoul and Christine kiss. He didn't just jump on her and give her a big smack; they both hesitated, left each other time to back out if they wanted to, and in every way made it look like their first very careful kiss.
I liked the rest of the cast, too. André was adorable, and Carlotta had impressive croaks. And I do mean croaks, she wasn't just going "graah" but really imitated a frog very well.
Another detail I have to mention is the very ending with Meg Giry. I've never liked the original "Now I make a very exaggerated half-kneeling ballet pose and lift this mask theatrically up so that everyone can see it", so I was very glad to see Meg take the mask and the rose, put them on the ground, and then kneel behind them with her head slightly bowed as if she was mourning/praying for the Phantom.
I also liked it how instead of the Christine-dummy the Phantom had dummies of both himself and Christine inside a mirror, and when he gestured they started to move mechanically and the "Phantom" kissed the "Christine".
I bought tickets also for next Tuesday, when there's supposed to be Viktor "Herbert in Vámpírok bálja" Posta as the Phantom and Gábor "2nd Krolock in Vámpírok bálja" Bot as Raoul. The combination sounds extremely interesting, and since they both can sing and act I hope I'll really see them.