Opera
Jenůfa, Czech Philharmonic Orchestra, Bělohlávek, RFHTuesday, 19 April 2016
Janáček's lacerating music-drama of love-led sin and redemption in a 19th century Moravian village is the opera I'd recommend as the first port of call for theatregoers wary of the genre. Its emotional truths are unflinching, its lyricism as... Read more... |
Rusalka, Scottish OperaFriday, 15 April 2016
For the gentleman next to me in the Festival Theatre, this was his second outing to see Rusalka. At the production premiere earlier this month in Glasgow, he had been “blown away” by Dvořák's lyric masterpiece. Given half a chance, I would go back... Read more... |
Lucia di Lammermoor, Royal OperaFriday, 08 April 2016
Lucia di Lammermoor is an opera in which men spend an awful lot of time talking about women, and very little actually talking to them. (Which, if nothing else, ensures a rather more dramatic denouement than a frank conversation about everyone’s... Read more... |
The Importance of Being Earnest, Royal Opera, BarbicanWednesday, 30 March 2016
Some new operas worth their salt work a slow, sophisticated charm, but the handful that holler "masterpiece" grab you from the start and don't let go. Gerald Barry's shorn, explosive Wilde – more comedy of madness than manners – was so obviously in... Read more... |
Written on Skin, BarbicanSunday, 20 March 2016
You learn a lot about an opera in concert. Free from directorial and design intervention, the music can and must do it all. What is good is amplified, and what’s weak exposed. When that score is as psychologically rich and texturally varied as... Read more... |
Boris Godunov, Royal OperaTuesday, 15 March 2016
Russian bells and spinning tops dominate Richard Jones's predictably unpredictable take on Musorgsky's saga of a conscience-stricken Tsar. Latter-day purism tends to insist on the composer's seven-scene 1869 original – possibly for economic more... Read more... |
Save ENO: The Chorus SpeaksMonday, 14 March 2016
"Just listen". That's an imperative, of course, but it can be a very fair and reasonable one if the tone is right. It was Claudio Abbado's encouragement to his Lucerne Festival Orchestra players to make chamber music writ large. It also sounds... Read more... |
Ariodante, Britten Theatre, Royal College of MusicWednesday, 09 March 2016
The London Handel Festival is back, and instead of ploughing their usual furrow of rarely-seen works, this year’s opera is a classic. If the rest of Ariodante doesn’t quite live up to the promise of its two often-excerpted arias (“Dopo Notte” and “... Read more... |
Iphigénie en Tauride, English Touring OperaSunday, 06 March 2016
Gluck's two operas about the daughter of Agamemnon saved from sacrifice only to serve as priestess-butcher herself have found their level on the contemporary operatic stage. Not that the handful of UK productions or their casts in recent years have... Read more... |
Akhnaten, English National OperaSaturday, 05 March 2016
What a load of balls. No, seriously. Globes, orbs, moons, suns, juggling balls, beach balls, er balls balls: if it’s spherical and pregnant with symbolism then you’re bound to find it somewhere on the props table for English National Opera’s... Read more... |
Orlando, The English Concert, Bicket, BarbicanWednesday, 02 March 2016
Anyone who says Handel can’t do psychology should spend an evening with Orlando. Form, orchestration, even exit conventions are all reinvented or cast aside for a work of startlingly contemporary fluidity, where music is completely the servant of... Read more... |
Nothing, Glyndebourne Youth OperaSaturday, 27 February 2016
Brand-new youth operas tend to fall into two types. One is hugely rewarding for the participants, a skill learned and a treasurable group experience to be remembered for the rest of their lives, as well as for their friends and family in the... Read more... |
