Opera Reviews
Saul, The English Concert, Butt, Edinburgh International Festival 2022 review - properly exciting music dramaFriday, 26 August 2022
It’s not an opera, of course, but of all Handel’s oratorios, Saul is probably the one that is best suited to being presented as an actual drama. Read more... |
Patience, Charles Court Opera, Wilton's Music Hall review - bar room blissThursday, 25 August 2022
“Twenty lovesick maidens we,” pining in stained-glass attitudes for florid poet Reginald Bunthorne, usually kick off Gilbert and Sullivan’s delicious mockery of the high (or cod) aesthetical. That might have been a problem for Charles Court Opera’s total cast of nine. Not so: the lights go up on three “melancholy”, Goth-sh maybe not-quite-“maidens", knocking it back at the bar of the Castle Inn, and we know we’re in the best of hands. The delight is unmodified over the next two hours. Read more... |
Sir John in Love, British Youth Opera review - a delicious end-of-summer treatThursday, 25 August 2022
You’d be forgiven for forgetting that 2022 marks a rather significant classical milestone. Vaughan Williams’ 150th anniversary has scarcely troubled the Proms season beyond the odd symphony, and while most orchestras are doing their bit in the autumn, it takes predictable form. Larks will ascend, Thomas Tallis will be hymned, and Scott will make his doomed journey to the Antarctic to live symphonic accompaniment up and down the country. Read more... |
Salome, Bergen Philharmonic Orchestra, Gardner, Edinburgh International Festival 2022 review - orchestral majesty triumphsWednesday, 17 August 2022
It is quite some years, if not decades, since the Edinburgh International Festival had any claim to be a festival of staged opera. This year we have had just one – Garsington Opera’s bewitching Rusalka – surrounded by a handful of concert performances: Beethoven’s Fidelio with the Philharmonia under Donald Runnicles, Handel’s Saul (yet to come), and Sunday evening’s Salome. Read more... |
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... |
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