User Reviews

If you subscribe to Met Opera on Demand, or if this airs on PBS, I very heartily encourage you to watch this visually stunning and thoroughly enjoyable work. Do so even if you're not a fan of the Hitchcock movie, or not a fan of modern or minimalist music. At the very least give it a few minutes of your time. If you're like me you'll be quickly hooked and hungry for more.

To me the stars of the performance were the eye-popping costumes, the set design, the very clever choreography (and chorus), and of course Isabel Leonard perfectly and exquisitely cast as the beautiful, bewitching, mysterious Marnie.

Most of the other characters take a back seat to Marnie herself, and act as backdrops or enablers to her odd compulsions -- except for the male protagonist's brother, who acts as an antagonist, well sung and acted by Iestyn Davies.

I thought the score and the libretto were fine for the material -- inventive enough, but never too "out-there" or odd. The score doesn't necessarily excite over the radio, but but viewing via TV, on-demand, or in the cinema, it's perfect, plus following the storyline via reading the subtitles (in modern minimalist opera even English-language lyrics and ensembles are fairly hard to discern consistently) makes the story come alive.

I found this opera magnetic and awe-inspiring. I highly recommend checking it out.

Would never miss a Metreopolitan Opera Live in HD production at the cinema for the world, though there have definitely been misfires there have been many good to wonderful ones too. Am like that too with the Royal Opera House, Covent Garden ones too, opera and ballet. Have always loved the thrill and opportunity to actually get the thrill of being at the opera and feel like you are there in the opera house, though in reality seeing it for much cheaper and in a more accessible location.

Although not everybody likes Alfred Hitchcock's film version of 'Marnie', based on Winston Graham's 1961 book, count me in as a person who does while considering it nowhere near one of Hitchcock's (one of my all-time favourite directors) best. So it was interesting to see how it would translate into opera. Contemporary operas at the Met have been a mixed success (loving 'Satyagraha' and 'The Tempest'), mostly leaning towards the appreciate it somewhat but not being a fan standard. Nico Muhly's 'Marnie' is an example of this.

The Met's production of 'Marnie' is like Thomas Ades' 'The Exterminating Angel' last season, it has a lot to like, making the most of the material and doing valiantly with trying to elevate it while also being outstanding musically. My problem was with the opera itself, which didn't really do all that much for me which diminished the cinematic experience somewhat, definitely in the shadows of the Hitchcock film while showing more fidelity to the source material. The libretto lacks drama and rambles too much, which takes away from much suspense, too many characters (some too sketchily drawn) and too much aimless exposition hurts it too. Was not crazy about Muhly's score either, there are moments such as the overture but it doesn't add an awful lot to the drama and lacks intensity and punch, holding back too much and playing it too safe.

'Marnie' as a production has more right with it than it has wrong, but there were issues. The pace does ramble and the drama needed more tension, and both faults are mainly due to the opera itself.

Really like Christopher Maltman and he does sing beautifully in a relatively against type role, his voice sturdy and powerful with a warm sound. His character however is a pretty thankless cipher here unfortunately and he struggles to bring enough distinction and intensity to it, which is unusual for him because he is actually a very good actor. In fact all the cast do a great job musically and do what they can, the sketchy characters just gives them little to work with.

However, 'Marnie' is visually very striking, being boldly colourful and atmospheric. Mayer remarkably does well with what is given as a story and makes the drama cohesive and tasteful if not always thrilling. There are some remarkably inventive touches, with the Shadow Marnies being a masterstroke. There are moments of tension and emotion and thoughtful ones too, though one wishes they came more consistently.

On a musical level, the production is outstanding. The orchestral playing is rich with some dark and shimmering tones and achieves a good balance of sympathetic nuance and fiery power. The chorus sing with a good blend and engage passionately with choruses that do show a sense of community in the more local scenes. The conducting is alert and accommodating with enormous assurance, the experience in contemporary opera showing.

Isobel Leonard captivates in the title role, the singing is of sheer beauty throughout and she successfully makes Marnie a compelling character easy to root for. She is particularly well supported by steely Anthony Dean Griffey (clearly having fun in his role), a vividly sung and acted interpretation from Denyce Graves and a chilling Iestyn Davies as the infinitely more interesting character of the two brothers.

In summation, a production that has a lot to like and often very impressive but have regretful serious misgivings of the opera. 6/10 Bethany Cox