Being fond of some of the singers involved, I knew nothing of the Operavox, comprising of only 6 episodes, series until just three weeks ago. It sounded really interesting with the animation style choices and the singers chosen to, though I did think that condensing operas that are around the 2 1/2 hour mark to 30 minutes was something that could have gone either way. On the most part, it was a generally excellent series, with the only real major failing being some of the spoken voice-acting, some of which was over-enunciated and ill-fitting. The animation styles though are interesting and mostly look great, the music is magnificent, the operas are very well-translated especially for Rhinegold and the singing is of a high standard.
Ranking the 6 opera adaptations:
1. Rigoletto(10)- Even condensed, this managed to be every bit as powerful as the opera(one of Verdi's best) it's adapted from. It is the best animated of the 6, having so much colour, detail and nuances. The drama is just as compelling and moving, and the English translation does not undermine that or the characters' motivations in any way. The music has plenty of dramatic thrust and is fully allowed to speak for itself. The singing is most impressive, especially from Summers(Rigoletto) and Joshua(Gilda), the only slight disappointment being Thorburn's lightweight Sparafucile. Just a warning, of the 6 adaptations, it is Rigoletto that is the most adult, I can imagine adults getting upset over the translation of Rigoletto's opening line for Cortigiani.
2. Rhinegold(9)- It is between this and Magic Flute that is the most accessible for children I think, and with Rhinegold there are strands of the story that people may faintly recognise. I worried about how Wagner would work condensed but it does here. I didn't like how Fricka was animated and Fafner wasn't quite evil enough. However, the traditional animation suits the story and music perfectly, and reminded me fondly of the fantasy adventure animated shows of the 80s. The translation reads very well, and the Star Wars-like scroll was an interesting touch. The story is always involving, and Alberich is every bit the character that you are disgusted by but feel pity for at the same time. Of the singing, Joll's authoritative Wotan, Connell's resonant Fasolt and Clarke's slyly ironic Loge, the best was Sidholm for Alberich.
3. Turandot(9)- My first opera singing in the chorus, I'll always love Turandot, though Tosca's my favourite Puccini. The melodramatic gesturing did get too much sometimes and the loss of Liu and Calaf's Act 1 arias was a shame. But the traditional animation is very striking, how Turandot is animated is exactly what she should be like, very like the style for Magic Flute but with a more oriental touch. The orchestral playing and chorus are top-notch, even with the cuts the story flows well and so does the English translation. The singing is excellent with not a weak link, though I did wish Van Allan for Timur had more to sing. Eaglen's Turandot is still chilling, though her voice has a more pure quality to most in the role which was quite nice actually, Barham's Calaf is lyrical though able for the hefty parts too and Watson is heart-wrenching as Liu.
4. Barber of Seville(8)- In a way, this is only real let down by the bland spoken voice acting for Almaviva and Rosina(Basilio's was the one that fitted the most with the character and singer). The animation and English translation are very good, if not as nuanced or literate as others in the series, the animation is very fitting with the story and music. The interpolated spoken dialogue managed to be funny and the story has the right charm and sparkle. The singing is fine, some of Shore's pattering is fudged but he is still an amusing Bartolo. As much as I liked Bardon's richness and Bronder's top register agility, Maxwell's dapper Figaro and Connell's darkly funny Basilio stood out.
5. Carmen(8)- Very nicely done, but one where you should see the full opera for the full emotional punch. The omission of Don Jose's big aria(I for one didn't mind that of the flat character of Micaela) made his character arc less convincing and the spoken voice-acting sounded rushed especially for Don Jose. The animation, both in colour and technique, was appropriate and looked wonderful, with the use of rotoscoping enhancing the drama. And the drama has many moments of intensity, for such a passionate story that's good. The orchestra play with authentic flavour, and of the singing, which is very good, Rigby's Carmen and Maxwell's Escamillo come off best.
6. Magic Flute(7)- Along with Rhinegold, the most accessible for children, in fact the opera has had a couple of Die Zauberflote Fur Kinder productions. The weakest aspect is, and I'm sorry for the repetition, the spoken voice acting, while Papagaeno and Sarastro are fine Tamino and Pamina are very bland and there is a tendency for people to over-enunciate. The character designs were also inconsistent, Tamino seemed to be changing size a lot, Sarastro is like an over sized spirit rather than the tall regal character I had in mind and Monostatos looked weird. Pamina, Papagaena and Queen of the Night looked great though, as did the ladies and dragon. There are also a lot of cuts, the three boys' roles are pretty useless and Tamino's quest seemed less urgent because of some of the cuts to Queen of the Night's music. The quaint and charming half-anime/half-picture-book sort of animation was lovely, the music is still wonderful, the translation flows and the orchestra and chorus(with what little they have) are also fine. Keenlyside, Miller and Connell were the standouts of the singers(liked the three ladies too), though Rhys-Davies exudes chills and authority if let down by bad diction. Archer's voice is lovely if with not much presence.
Overall, excellent. 8.5-9/10 Bethany Cox
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