ROH
natalie.wheen
For a creator of any kind, keeping control over what happens to their original work is essential. Their creativity is their livelihood, and their reputation is built on it. They protect it fiercely from other people copying it, altering it, selling it - anything in fact which devalues the work and damages the creators’ earning capacity from it.So it has come as a shock to the entire theatrical design community to find that the Royal Opera House appears to have drawn up a new contract for any new commission which will attack this core principle, which is the basis of English and European Read more ...
Ismene Brown
We should lie down to listen to music much more often. Gravity pulls away the thought and frown lines, smoothes the intellectual tracks and folds on the face, while you feel the blood in your head pumping lushly to dreamier parts of your brain. Joanna MacGregor’s If-A-Tree festival at the Royal Opera House this weekend may well be hitting some fey bases along its way, but Earthrise: The Lying Down Concert - was a spectacularly enjoyable opening event.The Floral Hall became, aurally and visually, something more of an Arboricultural Hall, dark-lit, a black carpet throughout on which hundreds of Read more ...
Ismene Brown
Over this weekend the spaces of London's Royal Opera House will be transformed by strange sounds, vaguely operatic, vaguely foresty, thoroughly chilled. The ambient atmospheres will be made by Scanner, who calls himself a “cultural engineer” and has made sounds for morgues, dances, Philips wake-up lights and chill-out rooms in clubs, during an extraordinarily eclectic career that seems to exist somewhere on the very edge of technology.Scanner’s music studio is a laptop, an amplifier, a keyboard and five hard drives. His scores look like Rorschach blots of computer scribble or wildly exploding Read more ...
Ismene Brown
The Royal Opera House ticketline is taking a while to catch up - last Friday's Moscow castings are now confirmed in London - but various inconsistencies are cropping up. The full confirmed casting list is below.While it is a fact of life that dancer injury causes unavoidable cast changes, and Zakharova had suffered a hip injury earlier in the year as well, the scale of this last-minute remake of the tour is likely to cause fury among London ticket-buyers, who were booking up until this week for specific casts that the Bolshoi management at least knew last Friday were not appearing. Few of the Read more ...
igor.toronyilalic
Let's get straight to the fellatio, shall we. The blow job - and its Polaroid rendition - that led to the 1960s divorce trial of the dissolute Duchess of Argyll forms the centrepiece aria (an aria that "begins with words and ends with humming") in Thomas Adès's opera Powder Her Face. And how good we were: as silent as a row of Trappists. There was none of the outrage, laughter, consternation that this staged blowy could once summon up and that once led Classic FM to ban the work. Sex, when dealt with correctly - as in Carlos Wagner's revival production - is never really scandalous. It's Read more ...
igor.toronyilalic
David McVicar's new Aida production had an opening mise en scène of such unashamed ugliness, a revolving main feature (a wall of scaffolding) of such audacious featurelessness, a wardrobe of such brazen tastelessness (think Dungeons and Dragons), that my critical faculties sort of went into a coma. I looked on, my mouth so wide open I was virtually dribbling, wondering what had happened to the great McVicar, praying for the return of a refreshed and fragrant reality, imagining that something - a fire, a flood - might intervene on my behalf between now and the end of the opera to Read more ...
David Nice
No longer, it seems, need ballet's most transformable heroine languish by the seasonal fireside. It's true that you'll have to wait until Christmas to see the most visually striking Cinderella of all again - Ashley Page's fitfully ingenious Scottish Ballet version showcasing magical designs by Antony McDonald. But English National Ballet's Cinders is out and about this spring, and now Ashton's first full-length triumph returns with period glitter to Covent Garden. If in places it still feels like a winter panto - those drag sisters are maybe getting past their sell-by date - a ballerina of Read more ...
josh.spero
As anyone on the Royal Opera House's mailing list will no doubt be aware, today is the first day you can book for the new season. In theory. Why in theory? Because currently I am number 1087 in the queue to get onto the website. Not even to buy tickets - just to see what there is to buy tickets for. If you want to see anything in this summer's season (Manon with the divine Anna Netrebko, say), you may need to start queuing for returns now - or at least be prepared to pay for the most expensive seats, which are usually all that are left after such a scrum. Last I heard, Lady Gaga was not Read more ...
Jasper Rees
It is rare enough for directors to collaborate in theatre, even rarer in opera. Patrice Caurier (b. Paris, 1954) and Moshe Leiser (b. Antwerp, 1956) began their long collaboration in their 20s. They are now in their 50s, and since that first production of Britten’s A Midsummer Night’s Dream at Opéra de Lyon in 1982, they have never worked (or lived) apart. Cohabiting and collaborating, they are opera’s closest equivalent to Gilbert and George.As personalities they could not be more different from each other. Caurier is careful and reserved, Leiser fiery and voluble. While their work Read more ...
Jasper Rees
As co-directors of opera, Patrice Caurier and Moshe Leiser's fidelity to each other's artistic vision is one thing. Their devotion to Rossini is also relatively unusual. Their loyalty to and faith in their designers is almost as deep. In this ravishing set of photographs, memorialising five of their productions at the Royal Opera House, the set designs are all by Christian Fenouillat, costume designs are by Agostino Cavalca and lighting is by Christophe Forey. Click on the images to view them. Read theartsdesk Q&A with Caurier and Leiser. [bg|OPERA/Jasper_Rees/Leiser_Caurier]
Madama Read more ...
Ismene Brown
Another night, another cast, another Judas Tree (see first-night review below this) - and yet more proof of what a tough, durable, shape-shifting piece Kenneth MacMillan created in his last year of life. Recently theartsdesk interviewee Thiago Soares talked of his preparations to play the central male in this gladiatorial ballet, and last night he made the role of the Foreman his own, taking to the stage like a razor-edged switchblade as the head of the gang of labourers who prowl at night through Canary Wharf and carry girls’ bodies to and fro.Theories about what The Judas Tree means range Read more ...
igor.toronyilalic
I have no compunction laying into vastly overrated composers, crazily overpaid conductors or lazily over-employed directors. I feel slightly more guilty doing the same to struggling singers or musicians. But a cast of tiny children dressed up as bunnies? Now, come on, even I draw the line somewhere. Sort of.
Actually, they weren't all dressed up as bunnies. Some were caterpillars, some bugs, some cubs. There were adults too, kitted up as dragonflies, badgers, dachshunds and vixens, and some even playing others adults: a schoolteacher, priest, poacher and forester. Janacek's world is simple Read more ...