Opera
theartsdesk
Competition alert! Start 2012 with a surprise arts trip. On theartsdesk we love crossing the borders - "Surprise me," was the edict of the great impresario of theatre, music, art and dance, Serge Diaghilev, and it's one we hold to here, because we believe in the pleasure of surprises. So please enter our competition, and a pair of tickets to one of the splendid events listed below could be coming your way, but you will take pot luck with which one you win, and who knows? You could discover a new passion.We will email winners on Sunday 1 January - New Year's Day - with details of how they Read more ...
james.woodall
The Barbican has always led the way in London in international theatre programming. The year there ended on a high, with Thomas Ostermeier’s Hamlet from the Schaubühne laying down new markers for transgressive commitment. I was sceptical about it when I saw the Berlin première in 2008, and our own critic was not, commendably enough, in a mood to be fooled around with. Yet a production which stages, so stylistically, terror, insanity and loathing (all in Shakespeare) with six actors straining every sinew without entirely ridiculing the play has to be respected.From the Bard to a big blast: Read more ...
josh.spero
While I'm still learning to disentangle my mezzo from my Meistersinger, I enjoyed a lot of the opera on offer in London this year, especially at English National Opera. Parsifal was perfect and Rameau's Castor and Pollux, while probably a little too Germanic in direction with its dancing amputated legs and unerotic nudity, was wonderfully sung. I especially enjoyed the premiere of Nico Muhly's Two Boys, whose internet-era set design suited its perverse modern "love" story. The first chorus, which built up comprehensible layers into a modem's hum, was genius.On the art front, Egon Schiele's Read more ...
Ismene Brown
You're going to test your stomach and sweet temper to the maximum today - test your brain and memory too with our monster quiz about the arts covered by theartsdesk in 2011. Every artform is represented here in 12 dozen questions. Settle down between courses, films and presents and see how many you and your near and dear can do.There's a linkable clue to each question where you will find an article that furnishes the answer. All the answers are on another page here - which will become live at noon today to give you a start.In film, what is “the Great Whatsit?” ClueWhich shuttered cultural Read more ...
theartsdesk
Here are the answers to our monster Christmas arts quiz of 12 dozen questions on the year past, as seen by theartsdesk writers. There are clues in all the questions in the main quiz page. If you don't want to know the answers just yet till you've grappled with them, close this page now.A suitcase bomb in Kiss Me DeadlyThe Bolshoi Theatre, Moscow, which reopened its main theatre in October, having lost its ballet director Gennady Yanin to scandal and its stars Natalia Osipova and Ivan Vasiliev to the Mikhailovsky Ballet"Everyday"29205Noel GallagherPhyllida Lloyd1980 Read more ...
theartsdesk
Any day now most of us will be hunkering down and for the most part drawing a curtain about the world outside. Before that happens, we’d like to tell you about theartsdesk’s plans for Christmas and the New Year.As well as posting our usual range of reviews (coming up in the next couple of days, some terrific writing on theatre, film and television), we also have a selection of seasonal treats. On Christmas Day we are publishing a bumper arts quiz specifically tailored for readers of theartsdesk, who know their cultural onions. (Sample questions: "In Tinker Tailor Soldier Spy what type of mint Read more ...
David Nice
A young chap from Elsewhere woos an alderman's daughter: not Dick Whittington in panto London, but Wagner's Walther von Stolzing in an unseasonal Nuremberg. No one is going to mind the solstitial disjunction - celebrating midsummer revels in the dead of winter - when this great saga of art and society is buoyed up by Antonio Pappano's lovingly prepared conducting, a good cast, lusty chorus and colourful costumes. Yet only folk determined on seasonal jollity to the exclusion of all else might not feel a certain want of the darker side to the human predicament which ought to pave the way to Read more ...
judith.flanders
It is unusual in art for collaborators to be of equal star-wattage. The pairing of Benjamin Britten and WH Auden was one such. Another, much longer-lasting, was Stravinsky and Balanchine, a partnership of equals that endured for nearly half a century. More recently, Antony Gormley has worked with both Akram Khan and Sidi Larbi Cherkaoui, to great effect. Can Turnage, McGregor and Wallinger replicate these? This has been the question.The answer is, unequivocally, yes. Wallinger took the lead, presenting a rich brew of possible starting points, which included the idea of the “window” created by Read more ...
David Nice
A disappointed man from Sheffield asked on a blog why Opera North was spoiling pampered London with two of its major productions and an offshoot this season when the rest of its vicinity was going operatically hungry. I can see his point, but we down here need to see what remarkable work this company can achieve (though we could always take a train to Leeds for the weekend, where there's plenty to see and do).It was, in any case, a rather timely reminder that while Deborah Warner's ENO Eugene Onegin, so lavishly presented, often failed to press the right human buttons, Neil Bartlett's Read more ...
David Nice
Who is more likely to be an operatic creature of flesh and blood: Puccini's young diva, unexpectedly caught up in the infernal machine of a lustful tyrant, or Tchaikovsky's teenager impetuously pouring out her soul in a love letter to a man she's just fallen for? Usually, you'd go for Tatyana over Tosca every time. At ENO it's currently the other way round. While Deborah Warner's new production of Eugene Onegin unfathomably misses most of the truths in a story we can all identify with, Catherine Malfitano's take on the best if most overdone Italian operatic thriller in the repertoire makes Read more ...
David Nice
Theatregoers may be disappointed to read on and discover I mean Otto Nicolai's Die lustigen Weiber von Windsor, the only 19th-century Shakespeare-based opera in the German language to hold the stage. Which it did, and not just in Germany, until the arrival of Verdi's infinitely superior Falstaff. Is this that rare thing, German comedy in music between Beethoven's Eighth Symphony and Richard Strauss's Till Eulenspiegel that's actually funny? Not really; Wagner's Die Meistersinger stands alone. But it's a piece which offers plenty of roles for student singers - with two leading sopranos, no Read more ...
David Nice
What’s not to love about Tchaikovsky’s candid, lyric scenes drawn from Pushkin’s masterly verse novel? ENO’s advance publicity summed it up neatly by promising “lost love, tragedy, regret”. We’ve most of us been there. That does mean that truthfulness to life can count for even more in a performance than good singing. Both burned their way through Dmitri Tcherniakov’s radical Bolshoi rethink, but while there are four fine voices to help Deborah Warner’s surprisingly traditional production along, the truth flickers very faintly here.Warner updates the action, but by less than a century: Read more ...