Opera Reviews
Peter Grimes, Royal Opera review - impressive, not quite devastatingFriday, 18 March 2022
"Why does he have to sentimentalise this piece?", Britten is reported by former Royal Opera director John Tooley to have said of Jon Vickers as Peter Grimes the tormented fisherman, so very different from the composer's life partner and creator of the role Peter Pears. Britten didn't qualify his disappointment by stating what for most of us is obvious: Vickers was one of the great tenor voices, and his latest successor in the role, Allan Clayton, is heading for that kind of status too. Read more...
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Jenůfa, Welsh National Opera review - powerful drama with a kitsch tailpieceSunday, 13 March 2022
If like me you regard the ending of Janáček’s Jenůfa as one of the most moving scenes in all opera, you might care to consider how it would be possible to deflate it in spite of the best singing imaginable. Read more... |
The Telephone / Miss Fortune, Guildhall School review - brilliantly-executed double billTuesday, 08 March 2022
Serendipity, rather than the fate which clings to the protagonist of Judith Weir’s Miss Fortune, led me to catch the last night of a double-cast spectacular at the Guildhall School of Music and Drama. What a tonic to find a top-notch young cast and orchestra working their disciplined socks off for conductor Dominic Wheeler and director Martin Lloyd-Evans after the dog’s dinner of English Touring Opera’s Rimsky-Korsakov on Saturday. Read more... |
The Golden Cockerel, English Touring Opera review - no crowing over this henhouseMonday, 07 March 2022
A plea to anyone who was seeing Rimsky-Korsakov’s last opera for the first time at the Hackney Empire: please don’t give up on ever seeing or listening to it again, as some I spoke to afterwards said they just had. I promise you, the fault lies in this production, though not for the most part in the singing. Read more... |
Rigoletto, Royal Opera review - second time luckyTuesday, 22 February 2022
Two Royal Opera staples, Verdi's La traviata and Puccini’s Tosca, now come round with too much frequency for critical coverage. It looks like Director of Opera Oliver Mears’ Rigoletto will do the same. Yet the production’s September 2021 debut was clouded by routine performances from its protagonist baritone and tenor Duke of Mantua, so a second visit was due to see if fresh casting might make a difference. Read more... |
The Cunning Little Vixen, English National Opera review - half-realised men and beastsMonday, 21 February 2022
Nature in the form of Storm Eunice stopped this Cunning Little Vixen in her tracks on Friday evening. ENO shrugged off the cancellation and rescheduled for Sunday afternoon. And here we were, getting the essential message that humans must reach an accommodation with the natural world or die in despair. So much for a cute animal fable. Read more... |
Don Giovanni, Welsh National Opera review - fine young cast let down by unhelpful conductingSaturday, 19 February 2022
If Don Giovanni is not the greatest opera ever written, it’s at least one of the very, very few that even in erratic performances have the capacity to seem it. Read more... |
Alcina, Opera North review - flat update redeemed by excellent vocal performancesMonday, 07 February 2022
This new production of Handel’s Alcina opens well, with no preamble, the protagonists’ arrival on the island inhabited by the titular sorceress suggested by footage of rushing water projected onto the backdrop. Read more... |
Bajazet, Irish National Opera, Linbury Theatre review – robust but a bit roughSaturday, 05 February 2022
One thing’s clear from Irish National Opera’s bold championship of Vivaldi: he’s his own man when it comes to the stage, not some baroque generic, even if Bajazet is a pasticcio incorporating other composers’ music. Read more... |
Theodora, Royal Opera review - God, love, sex, death - and terrorismTuesday, 01 February 2022
Some of Handel's late London oratorios, like the indestructible Semele, work well as fully staged operas. Others, usually the ones which swap mythology for the sacred, need dramatic help. Theodora is one of them, though Peter Sellars' now-legendary Glyndebourne production had a once-in-a-lifetime intensity. The singing if not the acting is more fitfully stunning here, but Katie Mitchell just about pulls off one of her most vivid and focused reimaginings. Read more... |
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