Glyndebourne
Sir Peter Hall: a day of thanksgiving and celebration for a colossus of cultureWednesday, 12 September 2018
Sir Peter Hall had no ordinary life, as might be expected from the director who more than any other defined the British theatre of the last half of the 20th century. The same can be said of the unforgettable two-part send-off he received exactly a... Read more... |
Vanessa, Glyndebourne review - blowsy histrionics and a great finaleMonday, 06 August 2018
"Sounds like an opera by Handel," said a friend when I told him that I was going to see Vanessa at Glyndebourne. Possible – the name first appeared in print as "invented" by Jonathan Swift in 1723 – had Handel not stuck to mythological and Biblical... Read more... |
Saul, Glyndebourne review - from extravaganza to phantasmagoriaFriday, 20 July 2018
It's swings and roundabouts for Glyndebourne this season. After the worst of one director currently in fashion, Stefan Herheim, in the unhappy mésalliance of the house's Pelléas et Mélisande, only musically gripping, comes the already-known best of... Read more... |
Prom 5, Pelléas et Mélisande, Glyndebourne review - for the ears, not the eyesWednesday, 18 July 2018
What a fabulous score Pelléas et Mélisande is, and what a joy to be able to hear it in a concert performance without the distraction of some over-sophisticated director’s self-communings. Well, if only. What last night’s Prom in fact served up was a... Read more... |
Pelléas et Mélisande, Glyndebourne review - frigid metatheatreSunday, 01 July 2018
Pierre Boulez simply crystallised the obvious when he described Debussy's unique masterpiece as "theatre of cruelty," despite its enigmatic beginnings. Richard Jones, when I asked him to talk about its plot, declared "it's about two men who love the... Read more... |
Giulio Cesare, Glyndebourne review - no weak linkMonday, 11 June 2018
What a great show, on every level. David McVicar’s Glyndebourne production of Handel’s Giulio Cesare, originally staged in 2005, and in its third revival this year, has a cast without a weak link, and never fails to draw in the audience to the work’... Read more... |
Der Rosenkavalier, Glyndebourne - detailed acting, great singingMonday, 21 May 2018
If Hugo von Hofmannsthal's libretto for Richard Strauss in their joint "comedy for music" is the apogee of elaborately referenced dialogue and stage directions in opera, Richard Jones's realisation - for all that it throws out much of the original... Read more... |
Madama Butterfly, Glyndebourne review - perverse staging, outstanding castSunday, 20 May 2018
Puccini’s heroines and the rough treatment he hands out to them have come in for plenty of opprobrium over the years. But just occasionally they fight back on his behalf in the person of an outstanding singing actress; and this is exactly the case... Read more... |
The Moderate Soprano, Duke of York's Theatre review - love and opera with a flinty edgeSaturday, 14 April 2018
"What could be more serious than married life?" asked Richard Strauss, whose operas became a surprising pillar of Glyndebourne's repertoire some time after the early days dramatised in David Hare's play. "Honour" might have been the answer of... Read more... |
Glyndebourne Opera Cup - a view from insideTuesday, 27 March 2018
I was on a panel of six critics convened to choose the winner of a special "media award" at the Glyndebourne Opera Cup on Saturday evening. What follows is therefore not a review, but rather a chance to chew over the concept and its highs (and... Read more... |
Best of 2017: OperaTuesday, 26 December 2017
It may not have been the best year for eye-popping productions; even visionary director Richard Jones fell a bit short with a tame-ish Royal Opera Bohème, though his non-operatic The Twilight Zone is something else. Instead there's been time to... Read more... |
La clemenza di Tito, Glyndebourne review - fine musical manoeuvres in the darkThursday, 27 July 2017
So much light in the Glyndebourne production of Brett Dean's Hamlet; so much darkness in Mozart's La clemenza di Tito according to director Claus Guth. Something is irredeemably rotten in the state of ancient Rome, at odds with the fundamental... Read more... |
