Opera Reviews
La Voix humaine/Les Mamelles de Tirésias, Glyndebourne review - phantasmagorical wondersMonday, 15 August 2022
“Variety is the spice of life! Vive la difference!,” chirrups the ensemble at the end of this giddying double bill. And there could hardly be more singular variety acts than a potential suicide at the end of a phone line, a woman who lets her breasts fly away and grows a beard, and a husband who breeds 40,049 children on his own. Read more... |
Rusalka, Edinburgh International Festival 2022 review - sumptuous rendition of a watery fableThursday, 11 August 2022
The last-minute indisposition of your leading lady is enough to give festival directors palpitations, let alone their audiences, now forewarned by the dreaded email thudding into inboxes. Read more... |
theartsdesk at the Bayreuth Festival Ring 2022 - a jumbled mess of ideas, some of them compellingTuesday, 09 August 2022
It is mid-way through the new Ring cycle, and we are taking lunch outside the old town hall on the high street in Bayreuth. Discussion at neighbouring tables is intense: “The Ring is a child!”, “Why does Wotan have no spear?”, “The pyramid in the box – what is that all about?” Read more... |
Utopia, Limited, National Gilbert & Sullivan Opera Company review - bounded raptureMonday, 08 August 2022
Joseph Heller grew tired of being told that he’d never written anything as good as Catch 22. ‘Who has?’, he'd retort. In the same spirit, it’s futile to compare Gilbert and Sullivan’s late flop Utopia, Limited to The Mikado, The Gondoliers, Iolanthe or The Pirates of Penzance. Read more... |
Spell Book/La liberazione di Ruggiero dell'isola di Alcina, Longborough Festival review - the pitfalls of diversityMonday, 01 August 2022
Diversity is a great idea, but it can sometimes contain the seeds of its own downfall. Positive discrimination is an obvious, frequent example. Read more... |
Prom 13, The Wreckers, Glyndebourne review - an overloaded ship steered with prideMonday, 25 July 2022
Uncut, lovingly restored, and with two intervals in the antique manner, Ethel Smyth’s The Wreckers invites its audience to embark on an epic voyage as well as a momentous one. This summer’s Glyndebourne Festival visit to the Proms brought us the rediscovered opera about a pious, paranoid community of Cornish ship-scavengers that the trail-blazing Smyth – who judged it her signature work – laboured over for several years before its premiere in Leipzig in 1906. Read more... |
Margot La Rouge/Le Villi, Opera Holland Park review – Parisian fancies and Black Forest gâteauFriday, 22 July 2022
Take an opera newbie along to Opera Holland Park’s double bill of rarities and they may have both their worst fears and their highest hopes confirmed. Outlandish plotting, overwrought melodrama and preposterous, supernatural stage business abounds. At the same time, some gorgeous music, memorable singing and dramatic coups make the whole fanciful spectacle soar and glow. Ecstasy and absurdity join clammy hands. Read more... |
Prom 7, Dido and Aeneas, La Nuova Musica review - bold and original from the startWednesday, 20 July 2022
How do you celebrate one of epic poetry’s richest female characters, a queen renowned across the Middle East and North Africa for being as politically powerful as she was magnetic? For Nahum Tate, the librettist for Dido and Aeneas, the curious answer is to push aside Dido’s achievements as a ruler and city builder and replace Virgil’s stirring metaphor for her plight with something, well, a little tamer. Read more... |
La donna del lago, Buxton International Festival 2022 review - Rossini’s romanticism for todayFriday, 15 July 2022
Buxton International Festival’s opera scene is clearly back on track for 2022, and its most substantial production a taut and tension-filled presentation of Rossini’s La Donna del Lago. Read more... |
The Turn of the Screw, Garsington Opera review - terrors and tragedyMonday, 11 July 2022
After the long interval, as darkness falls, the screw turns in this Garsington revival more woundingly than any I can remember for Britten's most concentrated masterpiece. Evil chords, trills, cadenzas and silences from the 13 superb Philharmonia players conducted by Mark Wigglesworth duly terrorise; Verity Wingate as the Governess to two orphaned children in a house which seems haunted by their former elders really does seem possessed. Read more... |
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