Opera Reviews
A Midsummer Night's Dream, Nevill Holt Opera review - sprinkled with musical fairy-dustThursday, 13 June 2019
“For I have found Demetrius like a jewel. Mine own, and not mine own.” Mine own and not mine own. This idea of transfiguration, of things familiar but somehow altered – is the spark that animates both Shakespeare’s A Midsummer Night’s Dream and Britten’s adaptation. Uncanny, Freud would have called it. There may be magic and naughty sprites, laughter and happy endings, but this is no fairy story. Read more... |
Porgy and Bess, Grange Park Opera review - good versus evil in Catfish RowMonday, 10 June 2019
If you go to a British country house opera to see a work about an addict and a cripple in a poverty-stricken Deep South tenement, you know the contrast between stage and garden marquee will be extreme. Seeing Gershwin’s Porgy and Bess at Grange Park Opera was never going to be a comfortable experience. Read more... |
Un ballo in maschera, Opera Holland Park review - evocative and sensationally sungMonday, 10 June 2019
A masked ball is a time of play and role-play, celebrating the duality, the conflicting selves within us all, allowing us to set aside our everyday public mask put on an alter ego for the evening. It seems appropriate then that Verdi’s Un ballo in maschera has a deep fissure running down the middle of its drama. Read more... |
Cendrillon, Glyndebourne Festival review - busy but engagingMonday, 10 June 2019
Cendrillon is Jules Massenet’s operatic version of Cinderella, based on the Charles Perrault story of 1698. It is a fairly faithful to the story we know, although it includes a dark third act, the scene after the ball, where Cendrillon attempts suicide. But, of course, the spirits intervene, and all ends happily. Read more... |
Falstaff, The Grange Festival review - belly laughs and bags of funSaturday, 08 June 2019
What is the perfect country house opera? A Midsummer Night’s Dream? L’elisir? Cenerentola? Figaro? All are strong contenders, but in the absence of anyone brave enough to stage Gerald Barry’s The Importance of Being Earnest the winner – surely – must be Falstaff. Read more... |
Le Nozze di Figaro, The Grange Festival review – the dark side of powerFriday, 07 June 2019
Productions of The Marriage of Figaro tend to press their thumbs on the comic or tragic side of the scales that hover so evenly throughout Mozart’s inexhaustible work. Director Martin Lloyd-Evans mostly favoured a darker interpretation at The Grange Festival, despite long stretches of niftily managed funny business... Read more... |
The Diary of One who Disappeared, ROH review – song cycle-as-opera is a mish-mashFriday, 07 June 2019
Singer Ian Bostridge once described The Diary of One who Disappeared as “a song cycle gone wrong”. Read more... |
Das Rheingold, Longborough Festival Opera review - more Wagnerian excellence in a Gloucestershire barnThursday, 06 June 2019
The whole raison d’être of the Longborough Festival was always the performance of its founder Martin Graham’s beloved Wagner. Read more... |
Manon Lescaut, Opera Holland Park review - attempt to empower commodified woman falls flatWednesday, 05 June 2019
"Waiting is always wearisome," declare the socialites as glitter-and-be-gay Manon Lescaut receives in the home of her nasty old "protector" Geronte. Despite the numerous sugar-plums Puccini weaves into his first fluent operatic masterpiece, waiting is very wearisome in the first half of Karolina Sofulak's new production for Opera Holland Park. Read more... |
The Bartered Bride, Garsington Opera review – musical glories, dramatic questionsMonday, 03 June 2019
It is a coincidence - and probably no more than that - that Garsington Opera has opened its 30th birthday season with the “founding work of modern Czech opera” in the year that also marks the 30th anniversary of the Velvet Revolution in Prague. Read more... |
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