Opera

The Weekend Australian - Review - - Out & About - Stephen Romei DS SR Murray Black

(M) This long-awaited se­quel to the block­buster In­de­pen­dence Day (1996) sees Ger­man di­rec­tor Robert Em­merich, a dis­as­ter movies mae­stro, re­main­ing in charge. The open­ing 30 min­utes is slow. It seems more of an in­tro­duc­tion (and rein­tro­duc­tion) to the char­ac­ters. The aliens are back, larger and stronger than ever. This is a fine for­get-about-the­work­ing-week film, but whether it re­peats the suc­cess of its pre­de­ces­sor only time will tell. The Mea­sure of a Man (La loi du marche) (PG) In his 2015 Cannes best ac­tor role, Vin­cent Lin­don gives a mov­ing per­for­mance as an un­em­ployed fac­tory worker strug­gling to make ends meet on his monthly wel­fare pay­ment while seek­ing al­ter­na­tive work to sup­port his wife and dis­abled teenage son. Stephane Brize’s grim por­trait of a con­tem­po­rary re­al­ity is rather di­min­ished by the unattrac­tive, faux doc­u­men­tary, vis­ual ap­proach.

War­craft (M) War­craft is di­rected by Dun­can Jones, son of David and Angie Bowie. It is based on a video game and its early box of­fice re­sults al­ready make it the high­est gross­ing of such adap­ta­tions. If you don’t know any­thing about the video game you may be lost for a while, but it’s not im­por­tant. This is ba­si­cally a two-hour bat­tle be­tween hu­mans and orcs, one that owes The Lord of the Rings fran­chise and the tele­vi­sion se­ries Game of Thrones. The per­for­mance-cap­ture tech­nol­ogy — where an ac­tor’s ex­pres­sions are melded with an an­i­mated body — is ef­fec­tive.

The Wait (L’at­tesa) The Love for Three Oranges Matthew Barclay’s re­vival of Francesca Zam­bello’s 2005 pro­duc­tion of Prokofiev’s fairy­tale opera The Love for Three Oranges (1921) has re­cap­tured its cap­ti­vat­ing blend of mad­cap com­edy and thought­ful satire. The imag­i­na­tive, clear-sighted di­rec­tion and the swift, scin­til­lat­ing or­ches­tral ac­com­pa­ni­ment sus­tained a chaotic whirl­wind of cease­less ac­tiv­ity. The en­sem­ble cast was uni­formly strong, led by tenor Ka­nen Breen’s en­er­getic, fir­mvoiced por­trayal as the clown Truf­faldino. Basses David Parkin (King of Clubs), pic­tured, Gen­nadi Du­bin­sky (Che­lio) and Pel­ham Andrews (Far­farello) all of­fered smoky-toned, vividly char­ac­terised per­for­mances. Among the fe­male singers, mezzo so­prano Mar­garet Tru­biano (Clarissa) and so­prano An­toinette Hal­lo­ran (Fata Mor­gana) both im­pressed, con­vey­ing their evil de­signs with steely clar­ity. Sydney Opera House, Ben­ne­long Point. Tonight, 7.30pm. Tick­ets: $44-$300. Book­ings: (02) 9318 8200 or on­line. Un­til July 9.

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