Opera
theartsdesk
The Arts Desk, or theartsdesk.com, is a website created in 2009 by leading British professional arts journalists and critics to offset the decline in supply of arts coverage in the print media where most of them worked. Launched on 9 September 2009, it publishes daily updating reviews, interviews and features by its member writers that aim to combine the best of print journalism standards with the speed, accessibility and technical opportunities of the web.Its particular strengths are overnight reviews of live plays, concerts and dance, in-depth Q&As with leading arts figures, weekly Read more ...
David Nice
The Swiss-born Sicilian tenor has died, far too young at the age of 43, 10 days after an accident on his Vespa. He was one of the best and most stylish of his rare breed, even if the scrummage to find an heir to Pavarotti sometimes pushed him into a corner. I'll not forget his Alvaro in Verdi's La forza del Destino at Covent Garden: here after so long was another true Italian tenor with a golden middle range who could at least act with his voice.That London debut was memorably conducted by Antonio Pappano, though the advertised maestro who'd haughtily gone walkabout was Riccardo Muti. He'd Read more ...
alexandra.coghlan
It may have taken her until 2005 to get her Wigmore Hall debut, until 2006 to break onto the stage of the Royal Opera House, but at 53 Susan Bullock has finally arrived, claiming the crown of soloist for this year’s Last Night of the Proms, a firm foothold at Covent Garden and her rightful place as Britain’s finest dramatic soprano. For a singer who “started singing by mistake”, whose musical training began in a council house in Cheshire on a piano rescued from the local rubbish dump, it’s no small achievement.Chance and luck have played their role in the careers of many performing artists ( Read more ...
David Nice
Under Western eyes, Gergiev’s Mariinsky forces had been turning to stone – like the titular shadowless woman's solipsistic husband in Richard Strauss and Hugo von Hofmannsthal’s polyphonic fairy tale – each time they stepped outside the Russian repertoire. There was the calamitous Verdi season at Covent Garden, and the ungainly Wagner Ring cycle which saw the opera company’s temporary twilight in London. In densest Strauss, the German word and the vital sense of movement arrived stillborn, but last night there were enough sparks in singing, playing and scenic vision to ignite swathes of this Read more ...
ash.smyth
When you go to a trendy London performance "space" to watch an opera about rape and murder you should probably expect a few shocks. Or, if this ain’t your first Don Giovanni, you should expect not to be surprised by whatever provocations the director may have in store – which is much the same. What you probably don’t expect is for the overture to be played electronically and/or sound like it’s been remixed by Thom Yorke. But in Robin Norton-Hale’s "new version", that’s what you get – and plenty more besides. And you know what? It really works. It does. Mostly. Read more ...
igor.toronyilalic
What was the audience on? They tittered when the bicycles came on, nearly cried when the whip was unleashed and virtually pissed themselves when the warring sides in Handel's crusader fantasy Rinaldo started fighting it out with hockey and lacrosse sticks (I know! Too-oo funny!). After last year's randy bunnies, Glyndebourne's Prom visits are fast becoming the nights to bury bad comedy.The one joke director Robert Carsen did get spot on was the libretto. I have some admiration for the drama's restlessness. But on the whole its unique mix of holy war, sorcery and Jackie Collins-like sauce Read more ...
igor.toronyilalic
We critics often find ourselves "embarrassed by historical facts", as Craig Raine once put it. Raine was trying to explain why so many people still value Wilfred Owen's poetry - to him, the most overrated corpus of the 20th century. "[Owen's] life and death as a soldier make literary criticism seem invalid and pedantic," he argued, before proceeding to a very validly pedantic demolition job. Music has its own Wilfred Owens. Viktor Ullmann is one. His reputation (which was showcased last night in a rare staging of his only opera, The Emperor of Atlantis, at the Arcola Theatre) seems to Read more ...
David Nice
It's a bit late for a straight review, I know, as this Glyndebourne Festival Opera revival of one of the most ingenious and (hopefully) enduring productions the company has seen in recent years opened three weeks ago. I was down there yesterday giving a pre-performance talk, buoyed in the knowledge that Dvořák's heart-piercing tale of a water nymph betrayed in her quest for a human soul would once again have the benefit of director Melly Still's special vision. But could this year's soprano singing Rusalka and her tenor Prince live up to the white heat generated by their predecessors two Read more ...
stephen.walsh
Richard Wagner has probably only himself to blame if his operas have become a laboratory for the testing-to-destruction of the intellectual preoccupations of that Opera Führer of our time, the stage director. Wagner it was, after all, who transferred the mythic concept of concealed meaning to the opera house: Wagner who recreated legend as psycho-social allegory, and made musical narrative the handmaiden of philosophy and political ideology. What he would have thought of the latest manifestation of these processes in the staging of his works in the opera house he built at Bayreuth is a good Read more ...
Ismene Brown
Glyndebourne’s production of Benjamin Britten’s terrifying The Turn of the Screw is one that really does turn the screw tightly in the mind. It pierces time with its updating from its original Victorian setting to a bleak Fifties Britain, it tightens the tension with its wintry, claustrophic setting, and it delivers its questions into our suspicious, information-saturated modern heads with added twists. Given a magnificent musical and dramatic ensemble to interpret it in this revival, it's an evocative way for Glyndebourne to end this tense, unpredictable summer, art gnawing away at the Read more ...
David Nice
“I wanna blow you all… a kiss” are our hapless heroine’s first and last words in this opera dealing with Anna Nicole Smith's real-life rise and fall in strip-cartoon, morality-ballad style. But it’s not by any means the shallow, voyeuristic tack-fest you might have expected from, among others, the creator of Jerry Springer: The Opera.That’s Richard Thomas, whose words have their fair share of cheap thrills. But here he’s in harness with a composer, Mark-Anthony Turnage, as well as a director (the ever-amazing Richard Jones) and a conductor (Royal Opera helmsman Antonio Pappano) who know how Read more ...
stephen.walsh
In 1981, when I last came to Bayreuth, the festival still seemed to be a battleground between the German Left and Right, between the blame faction and the guilt faction, between the commie East and the fat-cat West. Plus ça change. Without quite openly taking sides, Sebastian Baumgarten’s new staging of Tannhäuser rings some cracked old political bells while, apparently with Bayreuth’s connivance, candidly parodying most of the thinking that underpins this admittedly somewhat raw, yet for Wagner absolutely crucial early work.Baumgarten is the latest scion of the Felsenstein school, a pupil of Read more ...