fri 24/02/2017

Opera reviews, news and interviews

Juan Diego Flórez, Vincenzo Scalera, Symphony Hall, Birmingham

Richard Bratby

“Who says Mozart is not like Rossini?” remarked Juan Diego Flórez, about a quarter of an hour into his debut recital at Symphony Hall.

Le Vin herbé, Welsh National Opera

Stephen Walsh

Wagner’s Tristan left a huge mark on fin de siècle art, on the symbolist poets, even on their pseudonyms; Debussy himself toyed with a four-act opera on the subject.


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Kaufmann, Mattila, LSO, Pappano, Barbican

Peter Quantrill

Jonas Kaufmann’s legion of admirers could rest content. A well-received Lieder evening last week demonstrated that the world’s hottest tenor property...

Adriana Lecouvreur, Royal Opera

Gavin Dixon

Adriana Lecouvreur deserves to be better known. The opera has a toe-hold in the repertoire, with occasional appearances, usually as a showcase for...

Rigoletto, English National Opera

Alexandra Coghlan

This first-class production deserves better than this second-rate revival

The Snow Maiden, Opera North

David Nice

Rimsky-Korsakov's glorious score, or most of it, receives its fair share of magic

Les Enfants Terribles, Barbican

Jenny Gilbert

Javier de Frutos brings depth and flair to Philip Glass's dance-opera

Christine Rice, Julius Drake, Middle Temple Hall

David Nice

Glorious abandonment and perfect technique from one of the world's great mezzos

Fidelio, LPO, Jurowski, RFH

Alexandra Coghlan

A misguided staging obscured the power of this fine performance

Summerfield, Jackson, Riches, Classical Opera, Page, Wigmore Hall

David Nice

Three outstanding singers and an early Mozart revelation focus on 1767

La Traviata, Royal Opera

Alexandra Coghlan

Latest revival of Richard Eyre's war horse is full of youthful energy and passion

The Last Supper, BBCSSO, Brabbins, City Halls, Glasgow

David Kettle

A thrilling renaissance for Birtwistle's ritualistic religious opera

Le Grand Macabre, LSO, Rattle, Barbican

David Nice

Demi-staging of Ligeti's apocalypse-maybe hits hard but misses the wit and brio

Written on Skin, Royal Opera

Alexandra Coghlan

This contemporary classic only gets better with each hearing

Best of 2016: Opera

David Nice

A complex, giddying 'Lulu' is queen of a year rich in new operas

Der Rosenkavalier - Cast 2, Royal Opera

David Nice

Amber and gold from a second Marschallin and Octavian

Der Rosenkavalier, Royal Opera

Alexandra Coghlan

Robert Carsen's handsome production with Renée Fleming is elevated by superb orchestral playing

El Niño, LSO, Adams, Barbican

David Nice

Light and darkness balanced in a great oratorio music-drama

Das Rheingold, Hallé, Elder, Bridgewater Hall, Manchester

Robert Beale

Consummate 'preliminary evening' of the Ring from a master Wagnerian

Alice's Adventures Under Ground, Barbican

David Nice

Gerald Barry's crazy velocity berserks both 'Alice' books in rude style

Large, Hudson Shad, BBCSO, Gaffigan, Barbican

David Nice

Storm-force Brecht and Weill means lumpy Korngold is worth enduring

DiDonato, Il Pomo d'Oro, Emelyanchev, Barbican

Alexandra Coghlan

The American mezzo reimagines the classical concert for the stadium generation

Manon Lescaut, Royal Opera

Gavin Dixon

A strong revival cast, but the staging still won’t gel

ENO's Marvellous Miller in pictures

David Nice

Celebration of Sir Jonathan's award-winning productions with familiar stars

Simplicius Simplicissimus, Independent Opera

Helen Wallace

Polly Graham breathes fiery life into Hartmann's flawed drama

theartsdesk Q&A: Mezzo Anne Sofie von Otter

David Nice

Most elegant and eclectic of singers on new operas and fresh collaborations

Lulu, English National Opera

David Nice

Perfect rapport between stage and pit keeps tabs on William Kentridge's genius

Oreste, Royal Opera, Wilton's Music Hall

David Nice

Strong singing, if not fine-tuned to Handel, and playing at odds with hollow production

Footnote: a brief history of opera in Britain

Britain has world-class opera companies in the Royal Opera, English National Opera, Welsh National Opera, Scottish Opera and Opera North, not to mention the celebrated country-house festival at Glyndebourne and others elsewhere. The first English opera was an experiment in 1656, as Civil War raged between Cromwell and Charles II, and it was under the restored king that theatre and opera exploded in London. Henry Purcell composed the masterpiece Dido and Aeneas (for a girls' school) and over the next century Handel, Gluck, J C Bach and Haydn came to London to compose Italian-style classical operas.

Hogarth_Beggars_Opera_1731_cTateHowever, the imported style was challenged by the startling success of John Gay's low-life street opera The Beggar's Opera (1728), a score collating 69 folk ballads, which set off a wave of indigenous popular musical theatre (pictured, William Hogarth's The Beggar's Opera, 1731, © Tate). Gay built the first Covent Garden opera house (1732), where three of Handel's operas were premiered, and musical theatre and vaudeville flourished as an alternative to opera. Through the 19th century, London became a hub for visiting composers and grand opera stars, but from the meshing of "high" and "popular" creativity at Sadler's Wells (built in 1765) evolved in time a distinct English tradition of wit and social satire in the "Savoy" operas of Gilbert and Sullivan.

In the 20th century Benjamin Britten's dramatic operas such as Peter Grimes and Billy Budd reflected a different sort of ordinariness, his genius driving the formation of the English Opera Group at Aldeburgh. English opera, and opera in English, became central to the establishment, after the Second World War, of a national arts infrastructure, with subsidised resident companies at English National Opera and the Royal Opera. By the 1950s, due to pressure from international opera stars refusing to learn roles in English, Covent Garden joined the circuit of major international houses, staging opera in their original languages, with visiting stars such as Maria Callas, Tito Gobbi and the young Luciano Pavarotti matched by home-grown ones like Joan Sutherland and Geraint Evans.

Today British opera thrives with a reputation for fresh thinking in classics, from new productions of Mozart, Verdi and Wagner landmarks to new opera commissions and popular arena stagings of Carmen. The Arts Desk brings you the fastest overnight reviews and the quickest ticket booking links for last night's openings, as well as the most thoughtful close-up interviews with major creative figures and performers. Our critics include Igor Toronyi-Lalic, David Nice, Edward Seckerson, Alexandra Coghlan, Graham Rickson and Ismene Brown.

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