Opera Reviews
Albert Herring, English Touring OperaFriday, 05 October 2012
Albert Herring probably doesn’t make the top five most performed of Britten’s operas, yet is easily the best known work in English Touring Opera’s brave Autumn season – the other two are Viktor Ullmann’s The Emperor of Atlantis and Peter Maxwell Davies’ The Lighthouse. Read more...
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Così fan tutte, Welsh National OperaThursday, 04 October 2012
For some reason, the Welsh have revived their Così fan tutte, from last year, with positively unseemly haste – if not quite so unseemly as the haste with which their La Bohème, from this spring, was wheeled back on last month barely three months after its first airing. It looks as if the outgoing intendant John Fisher, never notable for lively repertory planning, was either clearing his desk, or had simply scarpered. Read more... |
In a Locked Room/ Ghost Patrol, Linbury Studio TheatreMonday, 01 October 2012
There's no guaranteed route to success with contemporary opera but, ever since Nixon in China, topicality and realism have become the most favoured and trusted paths to some kind of favourable outcome. Two chamber operas, receiving their English premiere at the Linbury Studio Theatre on the weekend, joined this ever-expanding modern school of verismo. Read more... |
Prince Igor, Hamburg State OperaFriday, 28 September 2012
Samuel Johnson’s description of opera as an exotic and irrational entertainment might well have been written after a performance of Borodin’s Prince Igor, give or take a hundred years or so. Of all great operas – and it is one – this must be one of the most colourful and most confused. Read more... |
London Philharmonic Orchestra, Jurowski, Royal Festival HallThursday, 27 September 2012
Dissatisfied housewives who eventually stand by their men joined jewelled hands in a divine evening of operatic decadence. Suppressed Bianca all but steps over the body of her strangled lover to get at the muscles of her killer husband in Zemlinsky’s A Florentine Tragedy, taking its cue from the deep purple imagery of Oscar Wilde’s story. Read more... |
Jephtha, Welsh National OperaSunday, 23 September 2012
Reviewing the Buxton Festival production of Handel’s Jephtha on theartsdesk a couple of months ago, Philip Radcliffe complained that the director, Frederic Wake-Walker, had done too little to justify the staging of this, the composer’s last oratorio: had made it, that is, too static and unstagey. Read more... |
Julietta, English National OperaTuesday, 18 September 2012
Pick the right dream, and you just might retrieve a precious memory, even in nightmarish terrain where everyone else has lost theirs. That message seems to have been uncannily prophetic for Bohuslav Martinů, who began work on Julietta in 1936, soon to face the terrifying clean slate of a longer exile from his beloved Czechoslovakia with the onset of the Second World War. Read more... |
BBC Proms: Peter Grimes, English National Opera/ BBC Symphony Orchestra, KnussenSunday, 26 August 2012
After the all-singing, all-dancing, all-helicoptering brilliance of Stockhausen Mittwoch aus Licht, the dry routine of an opera in concert didn't seem a very enticing prospect. That's the problem with this year's Cultural Olympiad. We're becoming very spoilt by it. What should have been a mouth-watering prospect - a fantastic cast performing a great opera - suddenly began to feel run-of-the-mill when compared to the once-in-a-lifetime event that was Mittwoch. Read more... |
Ravel Double Bill, Glyndebourne Festival OperaSunday, 05 August 2012
Ravel composed only two operas, both one-acters, widely separated in time, superficially very different, but both in a way about the same thing: naughtiness. In L’Heure espagnole (1911), the clockmaker’s wife, Conceptión, entertains a succession of would-be lovers in her husband’s absence. Read more... |
Susanna, Iford ManorSunday, 29 July 2012
Not all geese are swans, and not all Handel oratorios are like Messiah – storyless, spiritual, monumental sequences of reflective arias and choruses. By definition, though, they aren’t operas either, and it’s always a calculated risk to put them on the stage, as Iford Arts are doing with Susanna, a quasi-oratorio that Christopher Hogwood has described as “a pastoral opera verging on the comic”. Read more... |
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