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An elegant young bass, Josef Wagner, didn’t have the ideally menacing edge for the villain Assur, but he made a proper meal of his mad scene. Nigel Lowery had directed and designed a fashionably updated production, with reference to current devastation in the Middle East.
Although his approach was scarcely inspired and often clichéd, he did at least try to pump some theatrical life into the corpse.
The royals met with young asylum seekers at a reception in Dendermonde.
The Queen chose a striking yellow checked dress for the occasion, which she wore underneath a camel, cape-style coat.
The pair chatted with workers in the factory who explained the production process and despite their unusual get up they managed to still appear regal.
It should be a rip-roaring melodrama, but while I can imagine it might look fascinating on the page, it’s too torpid in the theatre to gain the necessary momentum – uncut, it runs to Wagnerian length and involves stretches of empty bombast as well as passages of pure genius.
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It also requires outstanding singers for the virtuosic parts of Semiramide, Arasce and Assur, and productions have therefore generally been predicated on the availability of stars such as Joan Sutherland, Marilyn Horne, and Samuel Ramey.