Two bodybuilders covered her nakedness with the American flag and around the audience were exposed bra and toothbrush of Anna Nicole Smith: Venus silicone cardboard heroine and star of the new production of the Royal Opera House. It seemed difficult to constrain the Dionysian existence of the model on the boards of a stage as conservative. But Richard Thomas and Mark-Anthony Turnage so far achieved and work miracles to lift a truly contemporary opera. Bowie peppered with references to Puccini and yet imbued with the charm of a scary scarecrow. The opera is a comic tragedy conceived by its authors in two stages: the rise and fall of his protagonist. There are two moments that define the tempo of the work.
Anna Nicole plays the Dutch soprano Eva-Maria Westbroek, whose generous curves are molded foam padding to simulate the silicone implants. As the divas of Verdi or Donizetti, Westbroek oscillates like a pendulum between a tenor and a baritone Alan Oke British and Canadian Gerald Finley. The first played her husband J. Howard Marshall II, an octogenarian billionaire who seduced her while working as a dancer at a strip club. The second, the lawyer Stern: The parasite that turned his life into a ‘reality show’ and introduced a self-destructive spiral.
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