Opera
theartsdesk
After Monday's report on the Royal Opera House’s new contract demands, a young composer alerted theartsdesk to an intriguing offer on the Covent Garden website - to "Create" a soundtrack for dance. This is a competition for new talent which will be judged by a team led by Deborah Bull, the ROH’s Creative Director: the winning entries to be shown at the ROH in November as part of the FIRSTS 2010 festival.
Create invites any composer over the age of 12 to create a new piece of music to short films of excerpts of existing choreography by two of the ROH’s associates, Will Tuckett and Wayne Read more ...
edward.seckerson
Amanda Roocroft was a star from the moment she graduated from the Royal Northern College of Music. At 25, Sir Georg Solti asked her to sing Pamina at the Salzburg Festival. She declined. It was too soon. Where would there be left to go? "Hurry slowly" would seem to have been her motto and now that she is playing - for the first time - a diva with 300 years of experience, the decisions she has made in her career are more than ever falling into perspective.The 300-year-old diva is, of course, the elusive and mysterious Emilia Marty in Janáček's extraordinary opera The Makropulos Case and Read more ...
igor.toronyilalic
Opera spends so much of its time killing off female protagonists that it's refreshing to come back to The Makropulos Case. In it Janáček, in one of his many moments of generosity, imagines what might happen if you allowed a woman not just to live but to live forever. The answer? They become a bloody nightmare.It's a funny old opera, The Makropulos Case. Nihilistic to its core in the thrust of the libretto, but curiously life-enhancing musically. The first act should knock you out with boredom, so heavy is its tread (one initially thinks) through the obscurities of a probate case. That it didn Read more ...
natalie.wheen
For a creator of any kind, keeping control over what happens to their original work is essential. Their creativity is their livelihood, and their reputation is built on it. They protect it fiercely from other people copying it, altering it, selling it - anything in fact which devalues the work and damages the creators’ earning capacity from it.So it has come as a shock to the entire theatrical design community to find that the Royal Opera House appears to have drawn up a new contract for any new commission which will attack this core principle, which is the basis of English and European Read more ...
igor.toronyilalic
Gounod's Faust is many things: vaudeville act, sentimental romance, Gothic tragedy, Catholic catechism, in short, a wholly unrealistic but winningly schizophrenic work that should be taken about as seriously as an episode of Sunset Beach. Director Des McAnuff's attempt to marshal this melodrama into revealing truths about Nazism, war crimes and the morality of modern science was always going to be a bit ambitious.Gounod's Faust is many things: vaudeville act, sentimental romance, Gothic tragedy, Catholic catechism, in short, a wholly unrealistic but winningly schizophrenic work that should be Read more ...
stephen.walsh
In fact Giuseppe Frigeni’s production and sets have already been seen in Bordeaux, so perhaps it’s more that the novelty by now has worn off. Either way, it’s a miserable affair, devoid of movement or dramatic tension, obscure in its characterisation and motivation, poorly lit and self-evidently costumed not just for a different cast, but for a different race of men and women.It has some of the worst singing I’ve encountered on the professional stage for many a year; and where the singing is good, it mostly comes from the wrong kind of vocal chords. In Meistersinger the orchestra played like Read more ...
graham.rickson
There’s something deliciously extravagant about this Pinocchio by composer Jonathan Dove and librettist Alasdair Middleton. It’s remarkably faithful to Carlo Collodi’s picaresque text, and so we get everything. Elaborately costumed characters enter with spectacular props, then disappear having barely made their point, my favourite being the four top-hatted black rabbits who threaten to escort Pinocchio offstage in a coffin after he’s refused to take his medicine.This revival of a piece first staged in 2007 is on a massive scale – elaborate sets, dancers, puppets, acrobats and a large chorus, Read more ...
alexandra.coghlan
The pairing of Philip Glass and Franz Kafka is a natural one. A shared fascination with obsession, with developing a simple premise to its most densely worked-out, most logical conclusion is evident in both, and it is only perhaps surprising that it took until 2000 for Glass to produce In The Penal Colony. Exploiting the minimal surroundings of the Royal Opera House’s Linbury Theatre to maximal effect, this UK premiere production forgoes inference and suggestion in favour of all-out confrontation, etching its message brutally into the audience.Adhering to the outlines of Kafka’s original Read more ...
edward.seckerson
In the 1960s Des McAnuff played guitar and wrote songs to meet girls. Subsequently life became a little more complicated for the multi-talented writer/ director. His long-standing commitment to the Shakespeare Festival Theatre at the other Stratford - in Ontario, Canada - has won him many plaudits and he is now director emeritus of the La Jolla Playhouse in California where so many important projects have germinated, including his Tony Award-winning production of The Who's Tommy and the forthcoming musical adaptation of Doctor Zhivago with a score by Lucy Simon.
Zhivago opens in Sydney, Read more ...
edward.seckerson
Melody Moore is well named. Her parents must have had a sixth sense that she would be "melodious". This exciting young American soprano has been making waves on both sides of the Atlantic. She has established footholds at both San Francisco and Los Angeles Opera and in the 2008/9 season made her English National Opera debut in Jonathan Miller's new production of La bohème. She returns to the ENO this season as Marguerite in Des McAnuff's new staging of Gounod's Faust, a role which seems to define the direction in which her voice and career are taking her.
Hers is a lyric voice with Read more ...
David Nice
Anticipating revivals of productions that were hardly vivacious in the first place, you can always find reasons to hope. Perhaps there'll be a dazzling house debut. Maybe someone, preferably the revival director, will bring a more focused individual zest to the kind of rough character sketches Jonathan Miller leaves flailing around his beautifully conceived historic locales. Not on this occasion. Singing and conducting were never less than accomplished, but only half-hearted titters from a sparse audience greeted the inhabitants of Miller's opera buffa toytown - more dullsville than doll's Read more ...
igor.toronyilalic
Here we go again. Art takes on capitalism, round 4,598,756. The blissful life of Harry Joy, ad exec extraordinaire, beloved father of two, is (surprise, surprise) not quite what it seems. His wife is having an affair, his daughter is fellating his son for drugs and his business clients are spreading cancer. He thinks he's in hell. But this ain't hell; it's the greedy, bourgeois reality of a capitalist West. Stalin would have been mighty proud of Australian Brett Dean's new opera, Bliss, which was receiving its European premiere at the Edinburgh International Festival. Having said that, Stalin Read more ...