Opera Reviews
Orpheus, Royal Opera, Sam Wanamaker PlayhouseSaturday, 24 October 2015
It’s Orfeo in the original Italian: not Monteverdi’s, nor yet another version of Gluck’s Orfeo ed Euridice, but a cornucopia of invention in the shape of the first Italian opera for the French court. Read more... |
La Bohème, English National OperaSaturday, 17 October 2015
Kurt Cobain’s “Smells like Teen Spirit’ cued a realistic song and drink routine for Chekhov’s Three Sisters in a hit-and-miss update by director Benedict Andrews. This one, with a Puccini soundtrack unsupportively conducted by Xian Zhang, smells more like routine spirit with a couple of jolts along the way, a sludgy requiem for drug-fuelled twenty-somethings. Read more... |
Sweeney Todd, Welsh National OperaFriday, 09 October 2015
If nothing else, Stephen Sondheim’s best-known work will put you off pies; it will put you off barbers; and it may in the end put you off Sondheim. Popular though it seems to be with planners and programmers, it’s sluggish and heavy going as drama and thin gruel as music: three hours of clever musical patter, repetitive orchestral mechanisms, and slinky variations on the “Dies irae”. When you’ve seen one throat-slitting, one human pie-bake, you’ve seen them all. Read more... |
Kiss Me, Kate, Opera NorthSunday, 04 October 2015
Opera North have an excellent track record when it comes to staging musicals, and Jo Davies’s Kiss Me, Kate is among the best things they’ve done. Cole Porter’s score and lyrics are flawless, though the book (by husband and wife team Bella and Samuel Spewick) is a little clunky. Act 1 is overlong, and the show’s close is a tad perfunctory. But what an erudite, wise piece. Read more... |
Salome, Bournemouth SO, Karabits, Symphony Hall, BirminghamSaturday, 03 October 2015
“How fair is the Princess Salome tonight”! That slithering clarinet run, that glint of moonlight: few operas create their world so instantly and so intoxicatingly. At Symphony Hall, the lights rose on the very back row of the stage, the percussion riser serving as the terrace from which Andrew Staples’s Narraboth and Anna Burford’s Page exchanged their ecstasies and warnings. Read more... |
Pelléas et Mélisande, English Touring OperaFriday, 02 October 2015
Shorn of several scenes, characters, and a large portion of the orchestra, the question was always whether English Touring Opera’s Pelléas et Mélisande was going to thrive in its new intimacy and intensity or shatter with the pressure. The answer sits somewhere between the two, in a production where some orchestral deficiencies are supplemented by a strong cast and bleeding cuts are – at least partially – staunched by an elegant, understated production. Read more... |
Farinelli and the King, Duke of York's TheatreWednesday, 30 September 2015
No doubt this sophisticated bagatelle starring Mark Rylance worked like a charm in the intimate space and woody resonance of the Sam Wanamaker Playhouse. Read more... |
Il ritorno d' Ulisse in patria, AAM, Egarr, BarbicanWednesday, 30 September 2015
And so the Academy of Ancient Music’s triptych of Monteverdi operas at the Barbican comes to an end, three years after it began with Orfeo. If 2014’s Poppea was the cycle’s sexually-charged climax, then this Ulisse is the dark, contemplative coda – a sobering moment of morality after the victorious excesses of opera’s most venal couple. Read more... |
Orlando, Welsh National OperaMonday, 28 September 2015
It’s almost impossible to imagine what a Handel opera performance can have been like in London in the 1730s, when Orlando first appeared. The audience came primarily to hear their favourite singers: and these must have been sensational, if not unduly dedicated to the dramatic verities they were supposed to be representing: castrati like Senesino and Farinelli, sopranos like Cuzzoni and Faustina (who once came to blows onstage, presumably trying to upstage one another). Read more... |
Lady Macbeth of Mtsensk, English National OperaSunday, 27 September 2015
“The music quacks, hoots, pants and gasps”: whichever of his Pravda scribes Stalin commandeered to demolish Shostakovich’s “tragedy-satire” in January 1936, two years into its wildly successful stage history, didn’t mean that as a compliment, but it defines one extreme of the ENO Orchestra’s stupendous playing under its new Music Director Mark Wigglesworth. On the other hand there are also heartbreaking tenderness, terrifying whispers and aching sensuousness. Read more... |
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