Opera Reviews
Aida, Royal Opera HouseTuesday, 27 April 2010
David McVicar's new Aida production had an opening mise en scène of such unashamed ugliness, a revolving main feature (a wall of scaffolding) of such audacious featurelessness, a wardrobe of such brazen tastelessness (think Dungeons and Dragons), that my critical faculties sort of went into a coma. Read more...
|
Elegy for Young Lovers, ENO, Young VicSunday, 25 April 2010
We all know what you get when you find yourself snowed in with your family up a mountain: thunderous carpets, corridors of blood, redrum and a head in the snow.
Read more...
|
Prima Donna, Sadler's WellsMonday, 12 April 2010
Why write gluey pastiche Massenet and Puccini when you could compose as your flamboyant self? Why collaborate on a cliché-ridden French text when your song lyrics declare themselves so piquantly in English? Rufus Wainwright must have his own reasons for concocting a fantasy of what opera might, or used to, be. Read more... |
Platée, Opera du RhinFriday, 26 March 2010
French geography has a significant hand in the small but exuberantly formed opera and dance that comes out of that civilised country - scaled for the important theatres that lie far beyond Paris and which have a great deal to teach Britain about creating a vivid national landscape. Read more... |
The Cunning Little Vixen, Royal OperaSaturday, 20 March 2010
I have no compunction laying into vastly overrated composers, crazily overpaid conductors or ...
Read more...
|
Katya Kabanova, English National OperaMonday, 15 March 2010
It's amazing how much you can tell of what lies ahead from the way a conductor handles a master composer's first chord. Katya Kabanova's opening sigh of muted violas and cellos underpinned by double basses should tell us that the Volga into which the self-persecuted heroine will eventually throw herself is a river, real or metaphorical, of infinite breadth and depth. Read more... |
Kaija Saariaho's Émilie, Opéra de LyonTuesday, 09 March 2010
The new millennium shimmered into earshot with a musical masterpiece from a female Finn. Kaija Saariaho's L'Amour de Loin (2000) appeared to open up an enticing new operatic sound world, less dogmatic, more instinctive, colourful and intense, very much like the work's model, Debussy's Pélleas et Mélisande, had done a hundred years before. Ten years on, the critical establishment descended on Lyon for Saariaho's third opera, Émilie - which comes to the Barbican in...
Read more...
|
Tamerlano, Royal OperaFriday, 05 March 2010
Graham Vick's Tamerlano is less of an opera and more of a warning. In four and half hours you see 26 ways of how not to handle the Baroque aria. Dramatic success in Handel and his psychological flights of mainly soliloquising fancy is never easy but last night's ill-fated Royal Opera House production (Placido Domingo called in sick a few weeks back) was a lesson in abject theatrical failure. |
Philip Glass: Satyagraha, ENO/ LSO, Alsop, BarbicanThursday, 25 February 2010
It has always been a cornerstone of my personal philosophy that beauty and insight can be found in the very lowest of common denominators. That Big Brother, Friends, Love It magazine or Paris Hilton provide revelations about life that are of as much consequence, of as much wonder, as any offered up by the classic pantheon. That that which the people respond to must and usually does have plenty of merit lurking within it. Read more... |
La Traviata, Chelsea Opera Group, QEHSunday, 21 February 2010
Marie Duplessis, Alexandre Dumas the Younger's real-life "lady of the camellias", was only 23 when consumption finally claimed her. Ignore a few lines about youth in Verdi's operatic treatment, though, and there's no reason why courtesan Violetta shouldn't be a woman of advancing years who finds true love with a man half her age or more; think Chéri (Colette's novel, not the film if you please). Read more... |
Pages
latest in today
Help to give theartsdesk a future!
It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.
It followed some...
Liepe, National Youth Orchestra of Ireland, NCH, Dublin revi...
There’s nothing like an anodyne new(ish) work to give a masterpiece an even higher profile. Rachel Portman‘s Tipping Points, promising to...
Albums of the Year 2024: Chihei Hatakeyama & Shun Ishiwa...
A gem for me this year has been the collaborative project between the veteran minimalist composer Chihei Hatakeyama and jazz...
Music Reissues Weekly: American Baroque - Chamber Pop and Be...
The descending refrain opening the song isn’t unusual but attention is instantly attracted as it’s played on a harpsichord. Equally instantly, an...
Nickel Boys review - a soulful experiment
RaMell Ross’s feature debut follows his poetic documentary Hale County This Morning, This Evening (2018) in again observing black...
Lockerbie: A Search for Truth, Sky Atlantic review - Colin F...
The destruction of Pan Am flight 103 over Lockerbie on 21 December 1988 was one of the ghastliest events in what would become known as the War on...
Albums of the Year 2024: The Last Dinner Party - Prelude to...
Does absolutely everything have to get more difficult with each passing year? Apparently so. The amount of time I’ve spent deciding which of the...
Davis, National Symphony Orchestra, Maloney, National Concer...
In one sense it was a New Year’s Day “nearly”, just stopping short of giving us the already great Irish lyric-dramatic soprano Jennifer Davis in...
Albums of the Year 2024: Mk.gee - Two Star and the Dream Pol...
Mk.gee has been an unexpected thread in a year of music that’s pulled me in many different directions, punctuating the need for unique, sonically...
SAS Rogue Heroes, Series 2, BBC One review - Paddy Mayne...
Having carved a swathe of terror and destruction through the Axis forces in North Africa, the SAS return for a second series (again written by...