Opera
David Nice
There are two operatic types who should leave Rossini’s epic swansong for the stage well alone. One would usually be a conductor who ignores many of the notes written by a master at the height of his powers, since even the least dramatic numbers have musical idiosyncrasy in them. Antonio Pappano still omits, among other things, Rossini’s superb Mozartian canon-trio for women's voices and wind ensemble; but what he does conduct is so focused and shapely that he must be forgiven. Not so his director, Damiano Michieletto, who not only jettisons a choreographer for the essential swathes of ballet Read more ...
Marina Vaizey
Antonio Pappano, artistic director and chief conductor of the Royal Opera House, is a polymath, for he is also a brilliant and persuasive narrator of the history of music. Here he embarked on a four part history of the operatic voice, starting at the very top – or how to reach those high Cs, the Everest for the soprano.Often speaking beside a grand piano, on the grand and empty stage of the ROH, and thus subliminally reminding us that he first worked as a repetiteur before becoming one of the world’s leading conductors, he creatively interweaved vintage film of legendary Read more ...
graham.rickson
We’ve been spoilt over the past few summers in Leeds; Opera North’s semi-staged Ring has been a triumph, and the whole cycle will be performed complete in June 2016. To fill the Town Hall in 2015 we’ve got concert performances of Wagner’s The Flying Dutchman. You have to commend the decision taken to play the work straight through without any intermissions, though it’s a bit of a slog in places; much of Act 2 feels dramatically inert. By contrast, Götterdämmerung’s five hours pass in the blink of an eye.You marvel at how much Wagner’s style was to develop in just a few decades; in a work like Read more ...
David Nice
Lagoon, miasma and scirocco may seem as far away as you can get from the rolling hills and pleasant airs of the Wormsley Estate in deepest home counties territory. Nor are the bleached bones of Britten’s bleak if ultimately transformative operatic swansong the usual culinary fare many punters might have expected to go with their fine wines and gourmet picnics. Against the odds director Paul Curran makes it all work, going about as deep, disturbing and ambiguous as the work allows while still serving a star performance in Paul Nilon’s Aschenbach and adding to the opera-ballet dimension that Read more ...
Adam Sweeting
Verdi's La Traviata has become one of the best-loved and most-performed works in the operatic repertoire, but this is no thanks to sections of the English press. In this entertaining romp through the opera's history, presenters Tom Service and Amanda Vickery drooled over the juiciest bits from some of the reviews from La Traviata's London debut in 1856 – for instance The Times of London deplored "an exhibition of harlotry upon the public stage", adding that this was "the poetry of the brothel" – before splitting up to examine the musical and historical background of the piece.Once you'd got Read more ...
Sebastian Scotney
From “Printemps qui Commence“ (spring is beginning) to “Springtime for Hitler"... that really is quite some intellectual leap. Patrick Mason, an experienced and respected opera director, has uprooted the tale of Saint-Saëns's opera from biblical Gaza, and has placed the first two acts in France somewhere around the time of Jean Renoir's La Grande Illusion, with Warsaw ghetto overtones.He has then clearly transported the third act in the mid-to-late thirties, and laden those final scenes with overt references to the rise of the Nazis, complete with leadership cult, book-burning and the Read more ...
alexandra.coghlan
Thresholds are breached and barred, penetrated and sealed up in Harrison Birtwistle’s beguiling pair of mythological scenas The Corridor and The Cure. Originally commissioned by the Aldeburgh Festival in 2009, The Corridor is paired here for the first time with Birtwistle’s new companion piece, in a production first seen this month at Aldeburgh and now at the Royal Opera House. Sharing the same instrumental and vocal forces, The Cure serves both as commentary and response to the earlier work, a musical mirror that distorts even as it reflects.The Corridor remains an extraordinary piece of Read more ...
stephen.walsh
It’s well-known that Wagner shelved The Ring two thirds of the way through in favour of Tristan with the aim of producing something that could be put on quickly in a conventional theatre. Of course, it didn’t quite work out that way. Yet Tristan, for all its technical difficulties, does lend itself to a relatively small stage. Its ensemble scenes are few and manageable, and for the rest it’s basically a conversation piece. For the barn theatre at Longborough it presents no insuperable problems, and it’s no surprise that the summer festival there has come up with a wonderful performance to add Read more ...
David Nice
Music-lovers outside Denmark will have come to know Carl Nielsen (1865-1931) through his shatteringly vital symphonies as one of the world-class greats, a figure of light, darkness and every human shade in between. For Danes it is different: since childhood, most have been singing at least a dozen of his simpler songs in community gatherings, probably without even knowing the name of the composer.The forthright, folk-square sentiments and the melodies that seem to have part of the Danish fabric for centuries are a part of the national heritage but haven’t travelled abroad. So the general Read more ...
David Nice
What a difference seven years can make to a budding genius. Mozart’s La finta giardiniera (1775) has only patches of brilliance, and last year’s Glyndebourne production, despite musical excellence, failed them all. This time an experienced director on best form, David McVicar, finds more nuanced humanity in the composer’s first mature German drama, Die Entführung aus dem Serail (The Abduction from the Seraglio, 1782) than I’d have believed possible, mirrored in the light and fire of Glyndebourne Music Director Robin Ticciati and the Orchestra of the Age of Enlightenment. If you think Mozart’s Read more ...
alexandra.coghlan
2013 was the year that pop fans were forced to ponder the ethics of “Blurred Lines”. In 2014 classical fans followed suit, when Kasper Holten’s Royal Opera Don Giovanni unapologetically redrew the map of sexual boundaries. Suddenly Donna Anna was sneaking off for a quickie with the Don while her beloved laboriously declaimed “Dalla sua pace” – a willing partner (along with Elvira, Zerlina and all other women to hand) rather than a victim. Now Holten’s Don returns, if not precisely a reformed character, then at least a changed one.It’s clear that the director has been doing some thinking since Read more ...
alexandra.coghlan
Connections are missed and made in Jonathan Dove’s Flight – a giddy airport fantasy of what might be and what never was. Not yet 20 years old, this contemporary score is quite a departure from Opera Holland Park’s staple fare of well-aged verismo and bloodily rare Italian drama, but in a glossy new production by Stephen Barlow it pulses with all the same urgency and human interest – and not a suicide/secret pregnancy/long-lost parent in sight.Driven by propulsive motor rhythms and percussion ticks, Dove’s score has the same slick statelessness as Andrew Riley’s designs. Here a bit of Copland Read more ...