Opera Reviews
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...
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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... |
Total Immersion: Music for the End of Time review - miracles from the house of the deadMonday, 24 January 2022
History’s most grotesque act of cynicism has to be the model ghetto the Nazis mocked up for the cameras in Terezin/Theresienstadt in October 1944, several days before transporting all the musicians and smartly-dressed attendees present at the concert included in the film to Auschwitz. Read more... |
Nabucco, Royal Opera review - high passion but low dramaSaturday, 15 January 2022
This latest revival of the Royal Opera’s Nabucco production has suffered more than most from COVID disruptions. At the first night, on 20 December, the chorus were obliged to wear masks, news that was greeted by boos from the audience. Then the next two performances were cancelled. Read more... |
Le nozze di Figaro, Royal Opera review - New Year champagneMonday, 10 January 2022
One of the galvanizing wonders of the operatic world happened when David McVicar’s production of Mozart’s The Marriage of Figaro was new, back in 2006: the sight and sound of Royal Opera music director Antonio Pappano in seamless dual role as conductor and recitative fortepianist. Read more... |
Best of 2021: OperaSunday, 26 December 2021
January to mid-May 2021 were the bleakest Covid months, yielding only the occasional livestream at least half as good as being there (Barrie Kosky’s magically reinvented Strauss Der Rosenkavalier from Munich, a film of Britten's The Turn of the Screw around Wilton’s Music Hall more imaginative than the actual production). Read more... |
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