Opera Reviews
Macbeth, Royal OperaTuesday, 24 May 2011
The staging smacks of Covent Garden's familiar Verdi-by-numbers - surprising since it's the often inventive Phyllida Lloyd's concept, revived by Harry Fehr, but it might as well be the inert pageantry of Elijah Moshinsky - while the necessary singing-acting, no doubt as a result, is mostly one-dimensional and overcooked. Verdi's first confident shot at music-theatre, revised for Paris in 1864 but already vivid in outline four years before Rigoletto broke the mould, deserves better.... Read more... |
Don Giovanni, Glyndebourne Festival OperaMonday, 23 May 2011
Two 1950s Mozarts in one weekend might seem like pressing the contemporaneity of great art unnecessarily far. But Jonathan Kent’s Glyndebourne Don Giovanni, revived on Sunday, is a much less crude update than the WNO Così. Read more... |
Die Meistersinger von Nürnberg, Glyndebourne Festival OperaSunday, 22 May 2011
So the world didn't end yesterday as predicted, and Wagner's divine comedy about the meaning of art has weathered the ironic apocalypse following Hitler’s misappropriation. Bayreuth reels, but we Brits are lucky to have two stagings in under a year which take the humanism at face value. Scaling it down for Glyndebourne's intimate summer paradise, given director David McVicar’s knack of finding a plausible historical setting, should have offered a viable alternative to... Read more... |
Così fan tutte, Welsh National Opera, CardiffSaturday, 21 May 2011
“I’ve seen an asp, a hydra, a basilisk”, Fiordiligi sings as she tries to ward off Ferrando in the second act of Mozart’s cynical dissection of true love. Read more... |
The Bartered Bride, BBCSO, Bělohlávek, Barbican HallSaturday, 21 May 2011
What a relief, for half of last night's semi-staged concert performance, to have left behind Britten's claustrophobic wood at English National Opera and to seek refuge in Smetana's Bohemian village inn of good cheer. Read more... |
A Midsummer Night's Dream, English National OperaFriday, 20 May 2011
Just think, said a veteran enthusiast of Britten's operas when I showed him the earliest publicity designs for Christopher Alden's production, you could set them all in a school, even Gloriana - what about headmistress Bess and head prefect Essex? But could you squidge everything into the one shape, I wondered? Read more... |
The Damnation of Faust, English National OperaFriday, 06 May 2011
Anything goes in the wacky world of Berlioz’s Faust story. It’s a heaven and hell of a lot better than Gounod’s, but it isn’t an opera, it isn’t an oratorio and it certainly isn’t the gospel according to Goethe. So Terry Gilliam, ENO’s latest wild-card debut director, was right not to play by all of the composer’s already rather warped rules. At first you sigh: not the Nazis and the Holocaust again. Read more... |
Werther, Royal OperaFriday, 06 May 2011
We all knew about the throat problems and the vocal-cord-threatening surgery. But Rolando Villazón's post-operation return to the Royal Opera House last night appeared to reveal heart issues too. At least that was the only way I could explain the endless arm-swinging and chest-clutching. Twenty, perhaps 30, times he clutched and swung. Surely this wasn't Villazón's attempt to characterise Werther's heartache, was it? Read more... |
From the House of the Dead, Opera NorthFriday, 06 May 2011
Janáček’s stark Prelude is a stunner: there’s no conventional beginning, no conventional thematic development; it simply starts, as if a light switch has been flicked on, and the baleful opening theme is distorted, repeated, squeezed until it leads into an extraordinary stretch of solo violin writing. Based on Dostoevsky’s novel, Janáček’s final opera isn’t a faithful adaptation – it’s a selection of loosely linked scenes spread over three concise acts. Read more... |
Pelléas et Mélisande, Barbican HallTuesday, 19 April 2011
"Ne me touchez pas! Ne me touchez pas!" Mélisande's jittery first words could be the motto for the whole of Pelléas et Mélisande. How to touch, what to touch, when to and when not to touch, more specifically, how to mark without bruising, are the subjects and challenges thrown up by Debussy's delicate piece of operatic symbolism. Ones that all the artists in last night's concert performance at the Barbican Hall tackled with incredible levels of musicality. |
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