Opera Reviews

Il Tabarro, Suor Angelica, Opera North

graham Rickson Monday, 03 October 2016

Just two thirds of Puccini’s Il Trittico still makes for an involving evening’s entertainment. Without Gianni Schicchi there’s an awful lot of misery and heartache, though director Michael Barker-Caven does manage to inject some black comedy into this revival of Il Tabarro, originally directed by David Pountney in 2004.

Don Giovanni, English National Opera

David Nice Saturday, 01 October 2016

Pace-perfect musical articulation and meaningful surprises in the direction: both were to be expected after the conductor-generated sludge and the production overkill of the new Royal Opera Così fan tutte. Mark Wigglesworth has form in Mozart at ENO, with the best of Cosìs way back and a bewitching revival of The Magic Flute this year. Last night he and the ENO Orchestra put no foot wrong.

Stravinsky: Myths and Rituals 5, Philharmonia, Salonen, RFH

Helen Wallace Friday, 30 September 2016

The Symphony of Psalms, which ended the Philharmonia’s Stravinsky series last night, is an indelible masterpiece, silencing the tired but persistent accusation that Stravinsky’s music is clever but cold. Abstract it may be, but suffused with an exile’s deep longing, spritual hope rising in harmonies of heart-stopping consolation until that final, revelatory C major chord.

Kiss Me, Kate, Welsh National Opera

stephen Walsh Friday, 30 September 2016

There are two ways of reacting to an opera company like WNO staging a musical like Kiss Me, Kate. You can ask yourself whether this is work that an opera house should concern itself with at all. Or you can take Confucius’s advice, and just lie back and enjoy it. Of course you could say the same if WNO put on an air display or a cricket tournament.

Così fan tutte, Royal Opera

David Nice Friday, 23 September 2016

Prospects hadn't seemed that great for this new Covent Garden Così. Could Semyon Bychkov, powerful earth-and-fire conductor of Richard Strauss's darker operas, possibly find the right proportions of air and water in Mozart? Would German director Jan Philipp Gloger prove better than his Bayreuth reputation?

La Canterina, Classical Opera, Page, Wigmore Hall

Helen Wallace Tuesday, 20 September 2016

Papa Haydn might have been tickled to see his early intermezzo, La Canterina, pack out the Wigmore Hall on a Monday night. A night for connoisseurs, then, but Classical Opera has form when it comes to refreshing classical repertoire with the elixir of vocal youth. And with a line-up boasting Susanna Hurrell, Rachel Kelly, Kitty Whately and Robert Murray, this was no exception.

Norma, Royal Opera

alexandra Coghlan Tuesday, 13 September 2016

You wait ages for a Norma, and then three come along at once. English National Opera saw something nasty in the woodshed back in February with their 19^th-century American take on Bellini, while up at the Edinburgh Festival this summer the opera’s original Romans and Druids traded togas for Tricolores and relocated to Nazi-occupied Paris.

Owen Wingrave, British Youth Opera, Peacock Theatre

alexandra Coghlan Wednesday, 07 September 2016

Owen Wingrave is the Britten opera that always comes with a caveat, an apology. Dramatically flawed (a problem partially, but by no means entirely, accounted for by its genesis as a television opera) and musically uneven, it has nevertheless emerged recently as a favourite choice for young singers, with Guildhall (2013), the Royal Conservatoire of Scotland (2016) and now British Youth Opera (2016) all choosing to stage it, with varying degrees of success.

Prom 68: Semiramide, OAE, Elder

alexandra Coghlan Monday, 05 September 2016

Between the Berlin Philharmonic, Leipzig Gewandhaus Orchestra and Simón Bolivar Symphony Orchestra it has been a big week at the Proms, in every sense. Scope and scale have been the watchwords for the orchestral tectonics that have taken place, the sonic landscapes that have been formed and reformed.

Comment

Prom 45: The Makropulos Affair, BBCSO, Bělohlávek

David Nice Saturday, 20 August 2016

Karel Čapek, the great Czech writer who pioneered some of the most prophetic dramatic fantasies of the early 20th century, thought Janáček was nuts to want to set his wordy play about a 337-year-old woman to music. He could not have anticipated what that septuagenarian genius would achieve. Some of us felt similarly doubtful about singers performing this most conversational of operas with scores and music stands in a "concert staging".