wed 06/11/2024

Opera Reviews

Rigoletto, English National Opera review - another hit for Miller's Mob

Boyd Tonkin

How we used to mock those stuck-in-the-mud opera houses that wheeled out the same moth-eaten production of some box-office favourite decade after decade. Well, Jonathan Miller’s 1950s New York mafiosi version of Verdi’s Rigoletto first arrived on stage in 1982, after The Godfather (Parts I and II) but well before The Sopranos. For ENO at the Coliseum, Elaine Tyler-Hall has now directed its 14th revival.

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theartsdesk at Wexford Festival Opera - let's make three operas

David Nice

Name three operas framing dramas within, and you’d probably come up with Leoncavallo’s Pagliacci, Strauss’s Ariadne auf Naxos and Prokofiev’s The Love for Three Oranges. You might be harder pressed to come up with three more, but Wexford Festival Opera has done just that, theming this year’s triptych of rarities in the shape of never less than interesting, if often dramatically flawed, comedies by Donizetti, Mascagni and Stanford as “Theatre Within Theatre”.

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Albert Herring, Scottish Opera review - fun, frivolity, and fine music-making

Miranda Heggie

Having premiered at the Lammermuir Festival earlier this year, Daisy Evans’s new production of Britten’s Albert Herring is a gently funny and sweetly nostalgic telling of what’s essentially a coming of age comedy. In fact, the 80s costumes and the characters’ cute quirks wouldn't have felt out of place in a John Hughes movie – if Hughes set films in Suffolk. 

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Le nozze di Figaro, The Mozartists, Page, Cadogan Hall review - cogency, intelligence and reverence

Ed Vulliamy

Ten years ago, Ian Page launched his and the Mozartists’ (then Classical Opera’s) remarkable endeavour to play music by WA Mozart 250 years after it was written, starting with a programme of material from 1765 by eight-year-old Mozart, and his contemporaries.

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A Midsummer Night’s Dream, Opera North review - one of the best and funniest

Robert Beale

Martin Duncan’s 2008 production of A Midsummer Night’s Dream remains one of the best and funniest things Opera North has ever done – back now again (it was also seen in 2013-14), in the company’s autumn season of revivals.

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The Turn of the Screw, English National Opera review - Jamesian ambiguities chillingly preserved

David Nice

At first, you wonder if the peculiar voice of Henry James’s maybe unreliable narrator can be preserved in this production. Surely the outcome is known if we first meet the Governess in an insane asylum bed? Yet whether she was mad or maddened during the course of terrifying events 30 years earlier remains crucially unclear. Between them director/designer Isabella Bywater, soprano Ailish Tynan and conductor Duncan Ward deliver all the frissons in Britten’s concentrated masterpiece.

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Trouble in Tahiti/A Quiet Place, Linbury Theatre review - top cast plays unhappy families

David Nice

Most of us have been there: an impasse in a marriage, a bereavement in a dysfunctional family. Leonard Bernstein certainly had when he composed Trouble in Tahiti in 1952, basing the unhappy couple on his own parents and even the incipient problems in his own relationship with Felicia Montealegre (see the superb film Maestro), and 30 years later the sequel, A Quiet Place, when Felicia’s early death from cancer had left him unhappy and guilty.

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Blond Eckbert, English Touring Opera review - dark deeds afoot in the woods

Bernard Hughes

Judith Weir’s Blond Eckbert, presented by English Touring Opera at the Hackney Empire, at the beginning of its tour (paired with The Snowmaiden, reviewed on theartsdesk last week) has all the biggest virtues of her work in spades: it is narratively lean, razor sharp in its scoring, and alluring in it its dressing up of the strange in the comforting garb of the familiar.

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The Marrriage of Figaro, Opera Project, Tobacco Factory, Bristol review - small is beautiful indeed

mark Kidel

The Marriage of Figaro is undoubtedly one of the greatest operas ever written. Mozart’s masterpiece is a display of musical perfection that never ceases to touch the heart and stimulate the musical mind.

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Béatrice et Bénédict, Irish National Opera, National Concert Hall, Dublin review - sung and spoken triumph

David Nice

As Fiona Shaw’s shiningly free and easy narration told us, Shakespeare’s sparring Beatrice and Benedick are merely counterpoint to a supposedly comic plot that becomes a potential tragedy, and tests the japers’ seriousness. Berlioz wanted none of that in his last opera, all southern sunlight and moonshine, caprice and reverie. Last night we got the best of all possible worlds in a concert performance that showed an ideal way forward for this beauty of a numbers opera.

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