19th century
David Nice
An operatic truism still doing the rounds declares that for Verdi's Il trovatore you need four of the greatest singers in the world. For Don Carlo, his biggest opus in every way, you need six. Nicholas Hytner's Covent Garden staging hits the mark third time around with five, the exception being a very honourable replacement for what would have been an interesting piece of casting. Add to the mix the experienced command of Royal Opera music director Antonio Pappano, supportive of the singers but also attentive to every instrumental detail, and it's as near to Verdian perfection as we're Read more ...
alexandra.coghlan
I’m not one to get misty-eyed over La bohème (unless it be a red mist of rage), but this second revival of Jonathan Miller’s production at English National Opera brought me closer than any yet to understanding the snuffling, lip-quivering reactions of those around me in the Coliseum stalls. And if it wasn’t exactly emotion that got me there, then perhaps it was something even better: sentimental delight in joyous, glorious music-making.La bohème has suffered more than most operas at the hands of clever directors and conceptual visions. But at this stage in his career Miller has nothing to Read more ...
alexandra.coghlan
It takes a certain kind of artist to book American mezzo-extraordinaire Joyce DiDonato as a supporting act. It’s a risk. Even if you happen to be Juan Diego Flórez. But it’s one that actually paid off on the first night of Flórez’s three-concert residency at the Barbican.Joined not only by DiDonato but by soprano Julia Novikova and baritone Marco Caria (as well as the massed forces of the LSO), Flórez showed us a softer side than the bravado-recitalist we usually see during his London visits. Surrounded by his peers, duetting, quartetting and generally sharing the spotlight, Flórez rather Read more ...
David Nice
"Oh, wretched old man! You are but the shadow of the king”, sings Plácido Domingo’s Nebuchadnezzar about himself in Lear-like abjection before his Goneril-Reganish daughter (the flame-throwing Liudmyla Monastyrska). It’s only true of this brief phase in the protagonist’s sketchy operatic trajectory from hubris brought low to piety raised on high. And it’s certainly not applicable to the one-time top tenor’s latest assumption of a Verdi baritone role, one which may lack the finer nuances of Rigoletto or Simon Boccanegra but which has its moments, all of which Domingo takes with aplomb.The Read more ...
David Nice
Or, The Lord and Lady Macbeth of the Seizième, as imagined by a bourgeois teenager who fancies himself to be Bougrelas, heir to the Polish throne. That's one way of looking at the concept so dazzlingly carried through by Declan Donnellan and Nick Ormerod with the French wing of their Cheek by Jowl Company. It’s a chaotic tale told by a big kid, as the 23 year old Alfred Jarry still was when he part-engineered a scandal for the 1896 Paris premiere of Ubu Roi, a platform at last for the savage, potty-mouthed and pot-bellied anti-hero Jarry had dreamed up years earlier in revenge against a Read more ...
judith.flanders
If you want virtuosity, there’s only one place to be in London right now, and that’s watching the Mikhailovsky’s fine production of that demented old warhorse, Don Quixote, with Natalia Osipova and Ivan Vasiliev in the leads.Don Quixote is one of the 19th-century’s pastiche pleasures, half-pantomime, half-burlesque, all razzmatazz. Choreographed by a Russian (actually, over time, six Russians), set in a Spain that never was, with music by an Austro-Hungarian, the last thing the ballet is is coherent. Instead one tiny episode from the original Cervantes novel, the story of a barber and Read more ...
Jasper Rees
When Tess was released in 1979 much was made of the fact that Hardy’s western England had become Polanski’s northern France. Also, that he had cast a German actress in the title role with a wobbly Wessex burr. All these years on, Nastassja Kinksi’s performance looks as ravishing as ever, and doesn’t sound too bad either. An extra layer of otherness is added to her portrayal of a beautiful young country girl passively buffeted by fate – and seduced, possibly raped by a powerful male - with the recent revelation that her father Klaus Kinski abused her half-sister and tried it on with her too. Read more ...
David Nice
Like Prokofiev’s The Love for Three Oranges and Puccini’s Turandot, Wagner’s first opera – The Fairies in English – has its roots in a “theatrical fable” by the 18th century Venetian playwright Carlo Gozzi. There the resemblances end. Only Prokofiev follows Gozzi’s playful mix of commedia dell’arte and fairy-tale characters. The 20-year-old Wagner has one moment of fun – cut in this performance – but a mere handful of musical gestures and plot devices prophesying greatness to come rises to the surface in this gloopy mess. You’ve got to admire the ambitious scope of it, but inspiration is Read more ...
David Nice
Snow flurries outside, steam heat within. Writer-director Yael Farber’s transposition of Strindberg from a 19th-century Swedish estate to a contemporary farm in South Africa’s Karoo region on the eve of a storm is so painstakingly evocative that all worries about the latest publicity image – shades of blaxploitation, more Mandingo than Miss Julie – instantly evaporate.There’s much of the same giddying power-shifts and sexual violence that buffet the original, but Farber’s recent conception, fresh from acclaim at last year's Edinburgh Festival, recalibrates the context dramatically. The Read more ...
Marina Vaizey
Scores of reddish-bronze skinned men, and a few women and children, in full regalia, festooned in face paint, feathers, jewellery and decorations of all kind. They stare out at us, impassive and imperturbable, immortalised by George Catlin (1796-1872), the most famous American artist you have never heard of. His work is embedded in the American consciousness, if not its conscience. This succinct and representative selection visits London 170 years after the sensational exhibition of his Indian Gallery in the Egyptian Hall in Piccadilly in 1843, when 500 of his portraits of American Read more ...
alexandra.coghlan
His recent film adaptation of Anna Karenina framed the action of Tolstoy’s novel in a theatre, so it seems only natural that director Joe Wright should follow it up with a return to the stage himself. Redolent with the smell of “gas and oranges”, Arthur Wing Pinero’s Trelawny of The Wells is not just any play, but a play about the business of theatre-making - a sentimental romance between life and art that hides its simpering blushes behind a veil of farcical comedy. It’s meta-theatre, Victorian-style, but can so period a piece really bear the weight of Wright’s high-concept passion for the Read more ...
Adam Sweeting
Last week we left Homer Jackson, the raffish ex-Pinkerton detective with the exceedingly chequered past, languishing in jail, after being fitted up for a Ripper-style killing by the murderous Frank Goodnight (played by cultish US actor Edoardo Ballerini). For this week's finale, Matthew Macfadyen's DI Reid urgently needed to get Jackson out again in order to apply his advanced forensic skills to unravelling a white slaving racket.Jackson was slickly able to prove his own innocence, then quickly extracted crucial clues about the gang who were drugging and kidnapping young women. His medical Read more ...