Opera
alexandra.coghlan
Beautiful though Katie Mitchell’s original production of Written on Skin is, George Benjamin and Martin Crimp’s opera has always felt more at home in the concert hall. Last year’s Barbican performance put Benjamin’s meticulous orchestral writing absolutely in the spotlight, but perhaps this “concert-staging” – fully directed, but minimally staged – offers the best solution yet, allowing orchestra and action to share focus in this gripping piece of musical storytelling.Because that’s the power of this rarest of things, a contemporary opera that has already found a firm foothold in the Read more ...
stephen.walsh
How many dead female composers can you name? Tom Green, the composer of this stunning one-woman show, could initially only think of five (I managed thirteen while waiting for the show to start, but then I’ve been around somewhat longer than he has, and knew one or two of them). In any case he soon dug up a few more, and based his score entirely on more or less unrecognisable quotations from their work – or so he claims. His libretto, on the other hand, he took from a living female writer, the Poet Laureate Carol Ann Duffy’s eponymous collection, which examines assorted famous males Read more ...
Jasper Rees
The first thing to say about Lucy Worsley’s Nights at the Opera (BBC Two) is that it is laser-aimed at those who have not enjoyed many nights at the opera. Enjoyed in the sense of attended; also, probably, in the sense of enjoyed. Anyone who is a regular at the Garden, or keeps a plaid rug permanently pegged out by the Glyndebourne ha-ha, or is a life member of the Netrebko claque, approach if you dare, but with smelling salts to hand.Television occasionally feels it must demystify opera for the masses who subsidise it, strip away that elitist veneer and lay bare an elemental core. Harry Read more ...
David Nice
It was a topsy-turvy evening. Sometimes the things you expect to turn out best disappoint, while in this case the relatively small beer yielded a true "Little Great" of a production and the best singing in Opera North's latest double bill (subject to reshuffling during the rest of the run). Janáček's Osud (Destiny) should have packed the emotional punch of the night – a score authentically vivid in every bar tied to an experimental plot and a libretto sometimes pretentious in its observations on art and life; Bernstein's Trouble in Tahiti has more trouble finding its heart. But conviction, Read more ...
alexandra.coghlan
They’ve done it in a boat and a barn, a former poorhouse and even a tunnel shaft, and now Pop-Up Opera bring their latest production to a museum. Bethnal Green’s 19th-century Museum of Childhood provides an evocative frame for Engelbert Humperdinck’s Hansel and Gretel, its glass display cases and carefully glossed and labelled toys setting the tone for a production that takes a wry, curatorial approach to its material.This knowing, arch quality to the drama comes almost entirely from Harry Percival’s surtitles, or “captions” as they are more accurately termed in the programme. Freely Read more ...
stephen.walsh
This week is Prison Week in the Christian Churches, and it would be nice, if fanciful, to think that WNO programmed their revival of Janáček’s From the House of the Dead with that in mind. More likely the thinking was that it fitted well enough into their Russian Revolution celebration, in view of its Russian source (Dostoyevsky) and setting (a Siberian prison camp), though one might have hoped that, among this bevy of autumn revivals (Khovanshchina and Eugene Onegin are both also old productions) some room - and funding - might have been found for an actual post-Revolution opera, as broadly Read more ...
David Nice
There's something here for everyone, as a "roll up!" slogan for one of the greatest shows in town might put it. Even opera buffs don't seem to have found much to fault with the cornucopia of sounds, moving pictures, objects, paintings, drawings and even a working stage set handsomely displayed in the spacious areas beneath the Victoria & Albert's gleaming new Exhibition Road entrance.Discrimination proves key. "Operas and cities" is the brief, which could have sprawled or resulted in some inapposite choices, but what we have is impeccable. In the first two "theatres", it looks as if there Read more ...
Gavin Dixon
Baroque opera is always a challenge to stage, and Rameau’s Dardanus is no exception. In its original form, the story, of love in times of war, was infused with allegorical characters and mythological scenes. It flopped, and so Rameau and a new librettist thoroughly revised the work to focus more on the human drama. But even with the changes, the plot is still slow and nebulous, and ends about half an hour before the opera does. Fortunately, Rameau’s music is continually engaging, a kaleidoscope of moods and colours that more than justifies its lengthy duration.The story tells of Iphise ( Read more ...
stephen.walsh
About Khovanshchina I once had serious doubts. Leaving aside its unfinished condition, it always struck me as what Wagnerians would call a bleeding chunk of history, unstructured, confused, over-researched and dramaturgically obscure. Three recent performances in Shostakovich’s powerful performing edition of Mussorgsky's incomplete original have completely changed my mind: Graham Vick’s incomparable “promenade” production in the People’s Tent at Edgbaston three years ago, Semyon Bychkov’s Proms performance this summer, and now this revival of David Pountney’s at that time still problematic Read more ...
Jessica Duchen
If the best is the enemy of the good, then the excellent is also the enemy of the "meh". And if you can stomach Verdi's Aida, go and see English National Opera’s new production for its central performance by Latonia Moore. In what’s become her signature role – the American soprano has sung Aida a hundred times previously – her searingly expressive, silvery tone and complete inhabiting of the character brought the doomed Ethiopian princess in Egyptian enslavement leaping to life. Unfortunately she was the pearl in an oyster that otherwise proved rather resistant to winkling – showing up how Read more ...
graham.rickson
Pairing Mascagni’s Cavalleria Rusticana with Gilbert and Sullivan’s Trial by Jury makes for a pleasingly schizoid evening in the latest of Opera North's The Little Greats series. Mascagni’s crashing final chords precede a longish interval, and when you re-enter the auditorium it’s not just the set that’s changed, but much of the audience. Karolina Sofulak’s Mascagni production is a sombre triumph, relocating the action from Sicily to a similarly repressed 1980s Poland.Instead of Mediterranean sunshine we get harsh strip lighting and peeling wallpaper: Lucia’s village shop is a distinctly bare Read more ...
David Nice
It’s official: Romanian master George Enescu’s four-act Greek epic lives and breathes as a work of transcendent genius. It took last year’s Royal Opera production to lead us further along the path established by the magnificent EMI studio recording with José van Dam as protagonist. But La Fura dels Baus’s brave and sometimes disorienting vision was incomplete, shorn of some bewitching dance-music, and fine young conductor Leo Hussain couldn’t hope to reach the total understanding and mastery of a unique style – or styles – that only Vladimir Jurowski could achieve with his musical partner of Read more ...