Opera Reviews
HMS Pinafore, National Gilbert & Sullivan Opera CompanyMonday, 10 August 2015
At the beginning of Act Two of John Savournin’s production of HMS Pinafore, the quarterdeck is in darkness. Kevin Greenlaw’s Captain Corcoran steps out of his cabin, downs a brandy stiffener, and launches into his melancholy lament to the moon. Woodwinds echo the ends of sighing phrases as the strings pluck their accompaniment: something about this sounds familiar. Read more... |
Ravel Double Bill, GlyndebourneSunday, 09 August 2015
Ask opera-lovers to name their favourite one-acter and chances are the choice will be L’enfant et les sortilèges. Colette’s typically off-kilter fable of a destructive kid confronted with the objects and animals he’s damaged is set by Maurice Ravel to music of a depth which must have taken even that unshockable author by surprise. Ravel’s earlier L’heure espagnole, on the other hand, is much less likely to be top of the list. Read more... |
Prom 25: Orfeo, EBS, GardinerWednesday, 05 August 2015
English choirs and early music ensembles have a bad reputation for stiffness, formality – nothing wrong with the music, just the presentation. But with this dramatic and Italianate Orfeo, John Eliot Gardiner, his English Baroque Soloists and Monteverdi Choir, reminded us just what is possible when you combine English musicianship with a looser, more instinctive presentation. Read more... |
Bakkhai, Almeida TheatreFriday, 31 July 2015
This is the real Greek, bloody-fantastical thing. After the fascinating but flawed attempt to bring Aeschylus’s Oresteia into the 21st century, the Almeida has turned to a more tradition-conscious kind of experiment with Euripides’ last and greatest masterpiece. Read more... |
Prom 11: Fiddler on the Roof, Grange Park OperaSunday, 26 July 2015
Stop miking Bryn Terfel. Stop over-miking musicals; the show voices in a hybrid cast don’t need much. Too much ruined English National Opera’s recent Sweeney Todd, and in this Proms adaptation of Grange Park Opera’s summer crowd-pleaser it sent the voices ricocheting around the Albert Hall, making mush of the words and stridency of the few belt-it-out moments. Read more... |
Xerxes, Longborough OperaSunday, 26 July 2015
One hardly expects operas about historical figures to bother much with the actual facts of their lives. But Handel’s Xerxes must nevertheless rank as an extreme case. Instead of bridging the Hellespont and invading Greece with a million men – a campaign mentioned in passing as if it were some minor business trip – Xerxes spends his time philandering with his brother’s intended and generally creating emotional mayhem in the Persian court. Read more... |
Saul, GlyndebourneFriday, 24 July 2015
I can’t remember a time I felt so profoundly disquieted by a Handel staging. It’s partly that, as an oratorio, Saul breaks so many dramatic rules that lend the operas their reassuring structural certainty, but there’s also something – a tenderness certainly, but also a violence – to Barrie Kosky’s production that uncouples the music from any residual cosiness England’s favourite adopted composer still inspires in British audiences. Read more... |
Lakmé, Opera Holland ParkFriday, 10 July 2015
Operatic hit parades have always been subject to fashion. For people of my parents’ generation, the famous number from Delibes’s Lakmé was the heroine’s coloratura Bell Song, immortalised at the movies by Lily Pons and Kathryn Grayson. Now it’s the Flower Duet, courtesy of British Airways. But there are other numbers equally worthy of attention in a glorious score stockpiled with the kind of thing the French call la mélodie eternelle. Read more... |
Rigoletto, Longborough FestivalThursday, 09 July 2015
The gable end of Martin Graham’s converted barn opera-house at Longborough is surmounted by statues of three composers: pride of place, not surprisingly, to Wagner – the festival’s raison d’être – and with Verdi and Mozart on either side. Read more... |
Falstaff, Royal OperaTuesday, 07 July 2015
It may only be a revival, but this is what the Royal Opera does best, above all in fielding a living legend of a Falstaff for Verdi's last masterpiece who’d probably be beyond the pockets of many other houses. Italian baritone, masterchef and filmstar Ambrogio Maestri is flanked by a good ensemble including two of the Jette Parker Young Artists Programme’s finest graduates, with top orchestral standards for Verdi's most elaborate score under the perfectly-pacing Danish conductor Michael... Read more... |
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