Opera
edward.seckerson
Ailish Tynan plays a short, fat, bald man in David Alden's staging of Handel's Radamisto at ENO. It is, she says, an occupational hazard when venturing into the cross-gender world of 18th-century opera. That Tynan is one of our brightest young stars - a shining lyric soprano equally at home in the rarefied world of song as she is in opera - only adds to the somewhat surreal prospect of hearing that voice emanating from a grotesquely fat-suited body. Tynan herself is a pretty, five-foot bundle of fun whose songful Irish brogue is entirely in keeping with the voice she produces. Getting a Read more ...
igor.toronyilalic
People always overlook how much of a hippie Richard Wagner was intellectually. His philosophical stance differs little from that of Neil from The Young Ones. It's a side of Wagner you can't get away from in Tristan und Isolde, with its endless railing against temporal realities and its search for universal oneness - yeah man, oneness. And it was doubly impossible to avoid these stoner-like thoughts last night at the Philharmonia Orchestra's Royal Festival Hall performance, where Bill Viola's videos - a typically elemental smorgasbord, with Adam and Eve types dressed in nappies - Read more ...
edward.seckerson
"It is a curious tale. I have it written in faded ink, a woman's hand, governess to two children, long ago..." So begins Benjamin Britten's operatic re-imagining of Henry James's ghostly chiller The Turn of the Screw. Oscar Wilde called it "a most wonderful, lurid, poisonous little tale" but how are we supposed to interpret it? In a remote country house, a governess fights to protect two children from menacing spirits. But are these spirits real or imagined?Are they figments of a fevered imagination? Did evil really occur at Bly before the governess's arrival and, if so, what? So many Read more ...
igor.toronyilalic
One after the other they came. Stunning aria after stunning aria. Affecting in their harmonies, infectious in their rhythms, arresting in their textures, vivid in their melodies. The Royal Opera had taken a mighty gamble with Agostino Steffani's 300-year-old Niobe, Regina di Tebe, a forgotten opera by a forgotten composer. But they were completely right to do so. For Niobe is a masterpiece. And last night's performance was a triumph.What theatrical capital there is in the miserable little tale of Queen Niobe is not immediately obvious. The story crops up in The Iliad four pages Read more ...
theartsdesk
After Monday's report on the Royal Opera House’s new contract demands, a young composer alerted theartsdesk to an intriguing offer on the Covent Garden website - to "Create" a soundtrack for dance. This is a competition for new talent which will be judged by a team led by Deborah Bull, the ROH’s Creative Director: the winning entries to be shown at the ROH in November as part of the FIRSTS 2010 festival.
Create invites any composer over the age of 12 to create a new piece of music to short films of excerpts of existing choreography by two of the ROH’s associates, Will Tuckett and Wayne Read more ...
edward.seckerson
Amanda Roocroft was a star from the moment she graduated from the Royal Northern College of Music. At 25, Sir Georg Solti asked her to sing Pamina at the Salzburg Festival. She declined. It was too soon. Where would there be left to go? "Hurry slowly" would seem to have been her motto and now that she is playing - for the first time - a diva with 300 years of experience, the decisions she has made in her career are more than ever falling into perspective.The 300-year-old diva is, of course, the elusive and mysterious Emilia Marty in Janáček's extraordinary opera The Makropulos Case and Read more ...
igor.toronyilalic
Opera spends so much of its time killing off female protagonists that it's refreshing to come back to The Makropulos Case. In it Janáček, in one of his many moments of generosity, imagines what might happen if you allowed a woman not just to live but to live forever. The answer? They become a bloody nightmare.It's a funny old opera, The Makropulos Case. Nihilistic to its core in the thrust of the libretto, but curiously life-enhancing musically. The first act should knock you out with boredom, so heavy is its tread (one initially thinks) through the obscurities of a probate case. That it didn Read more ...
natalie.wheen
For a creator of any kind, keeping control over what happens to their original work is essential. Their creativity is their livelihood, and their reputation is built on it. They protect it fiercely from other people copying it, altering it, selling it - anything in fact which devalues the work and damages the creators’ earning capacity from it.So it has come as a shock to the entire theatrical design community to find that the Royal Opera House appears to have drawn up a new contract for any new commission which will attack this core principle, which is the basis of English and European Read more ...
igor.toronyilalic
Gounod's Faust is many things: vaudeville act, sentimental romance, Gothic tragedy, Catholic catechism, in short, a wholly unrealistic but winningly schizophrenic work that should be taken about as seriously as an episode of Sunset Beach. Director Des McAnuff's attempt to marshal this melodrama into revealing truths about Nazism, war crimes and the morality of modern science was always going to be a bit ambitious.Gounod's Faust is many things: vaudeville act, sentimental romance, Gothic tragedy, Catholic catechism, in short, a wholly unrealistic but winningly schizophrenic work that should be Read more ...
stephen.walsh
In fact Giuseppe Frigeni’s production and sets have already been seen in Bordeaux, so perhaps it’s more that the novelty by now has worn off. Either way, it’s a miserable affair, devoid of movement or dramatic tension, obscure in its characterisation and motivation, poorly lit and self-evidently costumed not just for a different cast, but for a different race of men and women.It has some of the worst singing I’ve encountered on the professional stage for many a year; and where the singing is good, it mostly comes from the wrong kind of vocal chords. In Meistersinger the orchestra played like Read more ...
graham.rickson
There’s something deliciously extravagant about this Pinocchio by composer Jonathan Dove and librettist Alasdair Middleton. It’s remarkably faithful to Carlo Collodi’s picaresque text, and so we get everything. Elaborately costumed characters enter with spectacular props, then disappear having barely made their point, my favourite being the four top-hatted black rabbits who threaten to escort Pinocchio offstage in a coffin after he’s refused to take his medicine.This revival of a piece first staged in 2007 is on a massive scale – elaborate sets, dancers, puppets, acrobats and a large chorus, Read more ...
alexandra.coghlan
The pairing of Philip Glass and Franz Kafka is a natural one. A shared fascination with obsession, with developing a simple premise to its most densely worked-out, most logical conclusion is evident in both, and it is only perhaps surprising that it took until 2000 for Glass to produce In The Penal Colony. Exploiting the minimal surroundings of the Royal Opera House’s Linbury Theatre to maximal effect, this UK premiere production forgoes inference and suggestion in favour of all-out confrontation, etching its message brutally into the audience.Adhering to the outlines of Kafka’s original Read more ...