Opera Reviews
Figaro Gets a Divorce, Welsh National OperaMonday, 22 February 2016
The third of Beaumarchais’s Figaro plays, La Mère coupable, is a very different affair from the other two, in that it records actual adultery and its disastrous consequences (including Cherubino’s death in battle), as opposed to the largely comic innuendos and mistaken identities of The Barber and The Marriage. Read more... |
The Marriage of Figaro, Welsh National OperaFriday, 19 February 2016
From the more or less inconsequential wit and bravura of The Barber of Seville to the profound comic psychology, social nuances and unparalleled musical genius of The Marriage of Figaro, and from the silly antics of Sam Brown’s Rossini to the style and brilliant stage management of Tobias Richter’s Mozart, is a good lesson in music theatrical history played backwards. Read more... |
Ariodante, Scottish OperaFriday, 19 February 2016
In the end, it’s all about the oranges. They adorn the programme that accompanies Harry Fehr’s intelligent new production of Handel’s Ariodante for Scottish Opera. More importantly, they’re prominent in designer Yannis Thavoris’s clinical steel-and-glass set, growing on carefully groomed bushes in six neat tubs, placed meticulously below warming light bulbs, protected from the gales and snow drifts outside by a wall of glass. Read more... |
Norma, English National OperaThursday, 18 February 2016
In the light of what follows, it's probably best to be clear that I'm completely behind the artistic side of ENO in rejecting a 25 per cent reduction of the chorus's annual salary, tied to a shorter season. A full-time chorus of this size is the heart of a big company – without it, no Mastersingers, no Grimes, no Lady Macbeth of Mtsensk. Read more... |
Dido and Aeneas, Armonico Consort, Theatre Severn, ShrewsburyMonday, 15 February 2016
Spoiler Alert. It’s Act Three of Purcell’s Dido and Aeneas. The witches have done their worst, Aeneas is about to take ship, and the tenor Guy Simcock steps forward as the drunken sailor to sing what – as music director Christopher Monks has confided to us before the overture – will be his first solo role with Armonico Consort. Read more... |
The Barber of Seville, Welsh National OperaSunday, 14 February 2016
The latest themed season from WNO, to add to their fallen women, Donizetti queens and what not, goes by the slightly worrying title (for anyone with a short attention span) of “Figaro Forever”, and consists of an operatic sequence derived from Beaumarchais’ three Figaro plays and ending with a new opera by Elena Langer partly based on the last of them, La mère coupable. Read more... |
The Magic Flute, English National OperaSaturday, 06 February 2016
“We are at a time of present crisis.” When Sarastro addressed his boardroom of business-suited acolytes last night, there can’t have been many in the Coliseum whose thoughts didn’t turn to English National Opera. Even by the standards of a company that has spent most of its history fighting for survival, 2015 was a year of unprecedented difficulty. Read more... |
The Devil Inside, Peacock TheatreFriday, 05 February 2016
"I wish I had money," exclaims the weak-willed hero of Stravinsky's The Rake's Progress and, hey presto, the devil appears to strike a deal. Auden and Kallman didn't have the last word on Faustian-pact librettos. Read more... |
L'Étoile, Royal OperaTuesday, 02 February 2016
Why have all attempts to make French comic opera funny to British audiences fallen so flat, at least since ENO's 1980s Orpheus in the Underworld? Read more... |
Alder, Hulett, Classical Opera, Page, Wigmore HallWednesday, 20 January 2016
Unlike Schubert, Mendelssohn and Shostakovich, Mozart composed nothing astoundingly individual before the age of 20. That leaves any odyssey through his oeuvre, year by year – this one will finish in 2041, by which time I’ll be nearly 80 if I live that long – with a problem effectively solved by Ian Page and his Classical Opera in placing works by contemporaries of various ages alongside young Amadeus’s efforts. Read more... |
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