Take a read of what critics have had to say about Mark-Anthony Turnage’s adaptation of Thomas Vinterberg’s 1998 movie.
The Guardian: ***** “It helps enormously that the cast for this ensemble piece is so uniformly superb, projecting the words with such clarity and vehemence that surtitles are all but redundant.”
Express: ***** ” the director Richard Jones brought out the very best of a magnificent cast. Gerald Finley was suitably oleaginous as Helge while Allan Clayton gave a brilliant performance as Christian, totally controlled in contrast to his brother Michael, vigorously and perfectly repulsively played by Stéphane Degout.”
London Unattached: ***** “Conductor Edward Gardner marshals the orchestral forces of the Royal Opera House with subtlety and a powerful sense of dynamics, never overwhelming the singers. The unfolding drama is tightly marshalled building to a series of dramatic climaxes as the different orchestral sections fight for ascendancy. A classical orchestra will probably never achieve the sense of groove that seems implicit in Turnage’s music but the ROH band made a pretty good fist of it.”
The Arts Desk: ***** “This release of tension and the blithely chilling epilogue are Turnage’s last touches of genius in a score, handled by Gardner and the Royal Opera Orchestra with as much gobsmacking focus as the rest, that never fails us. A masterpiece? Maybe the morning after is too early to say, and I can’t wait to see it again, but from the impact and the reception last night, it feels so. The Royal Opera has a hit on its hands.”
Bachtrack: ***** “The real genius of this opera, however, is the way that Turnage and Hall mess with your head, throwing in a delightfully lyrical aria when a singer is describing the most fearful deeds, telling us in the music that bad things are afoot even if you can’t see them on stage, or catching you off your guard with exuberant party music suddenly interrupted by something important. It’s all performed by Edward Gardner and the Orchestra of the Royal Opera House with great verve.”
The Telegraph: ***** “Mark-Anthony Turnage’s adaptation of Thomas Vinterberg’s cult film tackles topical themes with dark wit and devastating emotion.”
The Stage: ***** “Mark-Anthony Turnage’s collaboration with Lee Hall results in a significant new opera.”
The iPaper: *** “Festen is timely, a forensic exploration of collective denial, of abuse’s intrusion into the rituals of polite society.”
The Standard: **** “It’s a gripping show, however, adroitly realised and with many moments of high achievement.”
Theatre News.com: “Throughout the opera the singing and acting, even in the briefest of roles, is filled with energy and focus. The set is designed by Miriam Buether in smart hotel style and supports the story admirably. The constant movement of the large cast under Movement Director, Lucy Burge, echoes the fast pace of the music, splendidly conducted by Edward Gardner.”
The FT: ***** “The production is by master of black comedy Richard Jones, who manages the large cast with skill, and Edward Gardner conducts Turnage’s vibrant orchestral score with panache. It is hard to imagine Festen the opera being better done.”
Broadway World: **** “The film works by coaxing out extremities and burrowing itself in between the contrasts of absurd humour and heavy darkness. The opera works in similar ways, juxtaposing a raucous conga line with Christian’s vision of a dead twin, more wretched accusations with the bumbling toastmaster’s seethingly awkward attempts to keep the increasingly Buñuel -like party alive. Funny, yes, but not enough to offset the omnipresent darkness.”
Festen is performing at the Royal Opera House until the 27th February. To book tickets click here.