Opera Reviews
Prom 45: The Midsummer Marriage, BBC Symphony Orchestra, DavisSaturday, 17 August 2013
Jeremy Paxman’s beard may have been a wonder and a talking point for five days, but Michael Tippett’s opera The Midsummer Marriage beats it by almost 60 years. Ecstatic, visionary, energetic music, yes indeed. But, oh, the composer’s libretto! The Magic Flute, T. S. Read more...
|
Fidelio, Opéra de Lyon, Festival Theatre, EdinburghTuesday, 13 August 2013
When first seen at Serge Dorny’s Opéra de Lyon in March-April this year, American Gary Hill’s unusual vision of Beethoven’s Fidelio could be recognised immediately as concept opera: drama where a director’s “idea” largely takes over the story. Hill directs (up to a point), and conceived the mesmerising projections that dominated the stage (realised, with jaw-dropping skill, by his technical assistant). Read more... |
Billy Budd, Glyndebourne Festival OperaSunday, 11 August 2013
It’s not a crowd-pleaser like Albert Herring, nor wittily fanciful like A Midsummer Night’s Dream or macabre like The Turn of the Screw and certainly not the classic that Peter Grimes has become, and until three years ago Glyndebourne had never even staged Britten’s Billy Budd. But Michael Grandage’s 2010 production was a sea-changer. Read more... |
Prom 29: Tannhäuser, BBC Scottish Symphony Orchestra, RunniclesMonday, 05 August 2013
On the one occasion I went to Bayreuth, I made the mistake of seeing The Flying Dutchman and Lohengrin after the best of Ring cycles. At the Proms we’ve had a week of serious Wagnerian withdrawal symptoms, so Tannhäuser was never going to feel like too much or too little of a good thing. Read more... |
Prom 20: Götterdämmerung, Staatskapelle Berlin, BarenboimMonday, 29 July 2013
And so Wotan’s ravens flew home and at the twilight’s last gleaming the immortals were consumed by fire and water. All was finally and irrevocably redeemed by the power of love, and the most beautiful of all the leitmotifs in Wagner’s Ring rolled out across the Albert Hall like a benediction. It was a defining moment in Proms history, no doubt, and was greeted with a few moments of perfect - and I mean perfect - silence. Read more... |
Prom 19: Tristan und Isolde, BBC Symphony Orchestra, BychkovSunday, 28 July 2013
Such has been the justifiable flow of superlatives this week about the Berlin Staatskapelle's Ring conducted by Barenboim, the centrepiece of the BBC Proms' Wagner bicentenary celebration, it would have been easy to forget that the 2013 Proms season contains not just those four, but seven complete Wagner operas. Read more... |
Prom 18: Siegfried, Staatskapelle Berlin, BarenboimSaturday, 27 July 2013
The transformative power of the Royal Albert Hall at Proms-time never ceases to amaze me. Read more... |
Road Rage, Garsington OperaThursday, 25 July 2013
Garsington Opera, now based at John Paul Getty’s countrified home, the Wormsley Estate near Henley, has nipped a leaf out of Glyndebourne’s book and embarked on its first full-blooded Community Opera: a far cry from Vivaldi and Rossini, but not from Janáček (Garsington will stage The Cunning Little Vixen next season). Read more... |
Prom 15: Die Walküre, Staatskapelle Berlin, BarenboimWednesday, 24 July 2013
Things may be falling apart, a storm now rages but new broods of humans and demigoddesses have been fathered by chief god Wotan, who has undergone a Doctor Who like transformation from Iain Paterson into Bryn Terfel. Read more... |
Prom 14: Das Rheingold, Staatskapelle Berlin, BarenboimTuesday, 23 July 2013
Swimming around in the Rhine is what most of us wanted to be doing on the hottest day of the year. A cooling, riverbed low E flat from Daniel Barenboim’s Berlin double basses, and then the staggered horn entries announced we were going to be in the finest sonic hands for two and a half hours – or nearly 15, if the colossal Proms Ring is to be accounted in its full, four-night glory. 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...
Mahler 8, LPO, Gardner, RFH review - lights on high
Transcendence is everywhere in Mahler’s most ambitious symphony, from the flaming opening hymn to the upper reaches in the epic setting of Goethe’...
Music Reissues Weekly: The Hamburg Repertoire
The blurb on the front of the double-CD set The Hamburg Repertoire says it collects “The original recordings of songs...
Philharmonia, Alsop, RFH / Levit, Abramović, QEH review - mi...
“Let the music guide your imagination” was never going to be the slogan of the Southbank Centre’s Multitudes festival. Its 13 events...
Ben and Imo, Orange Tree Theatre review - vibrant, strongly...
Back in 2009, there were Ben and Wystan on stage (Alan Bennett’s The Habit of Art). Last year came Ben and Master David Hemmings (Kevin...
The Great Gatsby, London Coliseum review - lavish and lively...
In 2012, an eight-hour long version of F Scott Fitzgerald’s The Great Gatsby...
Stelios review - Athenian rhapsody in blues
The English title of a new film about the legendary singer-guitarist Stelios Kazantzidis, who popularised rebetiko, which is often called “the...
Album: Dr Robert & Matt Deighton - The Instant Garden
There’s this mod milieu, harking back to the Eighties. Weller at the forefront; Dr Robert and his Blow Monkeys; all righteously hate Thatcher;...
The Accountant 2 review - belated return of Ben Affleck...
It’s been nine years since Ben Affleck’s original portrayal of Christian Wolff in The Accountant, who’s not only an accountant but also a...
The Inseparables, Finborough Theatre review - uneven portrai...
The Finborough has once again performed the miracle of creating a whole world in its intimate space: this time, inter-war France, where...