Opera
David Nice
Looking through everything we’ve covered this year – and some of our reviewers have made their choices from an even wider sphere – I find, as in 2021, that the abundance of classical-concert top choices is richer than the number of truly outstanding opera productions. Personally, I’ve seen only three performances in the UK that ticked all boxes (production, singing, conducting, top quality work) and three abroad, despite limited travel.Curiously, the one that brought me most joy was Charles Court Opera's pocket Patience at Wilton’s Music Hall, turning exigence to creative advantage in having Read more ...
David Nice
“Visionary,” I’m told, is a clichéd word these days. But so long as you don’t fling it about too freely, it’s apt: for me, there are only two visionary directors working in opera right now. One is our own Richard Jones – though even he can get it wrong occasionally – and non-Czechs probably won’t know much about the other as yet.Jiří Heřman, for seven years the Artistic Director of the National Theatre Brno’s Janáček Opera, whose new production of Janáček’s From the House of the Dead in an unprecedented yoking with the Glagolitic Mass I was there in to see, along with a revival of his 2020 Read more ...
Sebastian Scotney
“The great thing about this production,” Colin Davis observed in 2003, during rehearsals for its very first run, “is that the director [David McVicar] hasn’t attempted to shock anybody. He has tried to tell the story of The Magic Flute. And thank God for that.”Two decades later, with its world of magical creatures, flying machines and everything from farce to the deep seriousness of being initiated into Sarastro’s brotherhood, it does remain a very strong show.John Macfarlane’s sets, with their palaces, walls and skies, stunningly lit by Paule Constable, are a constant delight. The comic Read more ...
Robert Beale
The Royal Northern College of Music is in the mood for celebration. Its 50 years of existence warrants popping the champagne corks big-time, so for its end-of-year operatic production Die Fledermaus is just what the doctor ordered.But this ain’t no ordinary Fledermaus. Forget the dreamy nostalgia of fin-de-siecle Vienna: the story’s ingeniously updated to set it in turn-of-millennium London – New Year’s Eve, 1999 – and it’s been given a nice bit of edge in the process. It’s conducted by David Parry, and his clever English translation is sung, with appropriately updated dialogue by Parry and Read more ...
David Nice
Only a group of top musicians stood, or mostly sat, between a full but necessarily small house and Dr Malatesta’s Plastic Surgery Clinic in the bijou surroundings of Dun Laoghaire’s 324-seater Pavilion Theatre. The scaled-down wing of Irish National Opera’s season, touring between a highly-acclaimed production of Guillaume Tell and next March’s Der Rosenkavalier, worked so well because the same high values that have marked the other company offerings I’ve seen so far are very much in evidence.Donizetti’s stock farce of an old man duped into thinking he’s got himself a demure bride may not Read more ...
Sarah Connolly
The decision of Arts Council England to withdraw funding from the English National Opera and force it to move out of London is not only another hammer blow to the opera industry but it has huge ramifications for the extensive number of British freelance artists the company employs.ACE made this decision with no consultation with the ENO or the wider industry, and now huge numbers of freelancers are vulnerable and potentially without employment.We call on Sir Nicholas Serota and ACE to rethink this terrible decision, and to reflect on the choice they have made to target opera as an industry in Read more ...
David Nice
Looking for a sparkly operatic musical, well sung and played, slick and saturated in a range of mainstream styles that stop short in the year the movie masterpiece It’s a Wonderful Life was released, 1946? Then Jake Heggie’s 2016 confection may be for you. One thing’s for sure, though: it may be trying to do something different from the Capra classic, and it’s welcome to have the Bailey family as African Americans, but this isn't a patch on the rather more layered film.Endemic of the problem is that Capra’s crumpled, blue-eyed angel hoping to gain wings from helping a human in trouble has Read more ...
alexandra.coghlan
Paris, Vienna, Rome – all have their operatic homages. But London (and I mean real London, not the slightly-grey Italy of Donizetti’s Tudor Queens) only rarely makes it into the opera house. Curiously, on the rare occasions it does, it’s the seedy side of things that’s very much at the fore in The Beggar’s Opera and, of course, the Hogarth-inspired The Rake’s Progress.The city is the touchstone for any staging of the Stravinsky, telling the audience where on the dial between fairytale and morality play we’re going to fall. In Frederic Wake-Walker’s new production for the Royal Academy of Read more ...
Leo Hussain
I still remember vividly my first encounter with ENO. I was taken, as a nine-year-old boy, on a school trip to see a performance of Peter Grimes. And I was hooked. I pestered my parents to take me back several times to that same production. I can still hear the ringing of the "Storm" Interlude, and see the waves projected outside the door as the characters entered the pub (and I still remember sniggering with my classmates at the line "that’s a bitch of a gale out there").Over the following few years, many more school trips to ENO followed. Xerxes, Love for Three Oranges with its scratch Read more ...
David Nice
Handel’s audiences must have taken a very long time to settle – at least an act, to judge from the mostly inconsequential music of Alcina’s first hour. Lovely: we’re on an enchanted isle where puritanical people have been transformed into animal-headed courtiers, and a love-imbroglio merits only a “so what?” Richard Jones and his singers keep it lively and focused, but the bounce needed from Christian Curnyn and the Royal Opera House Orchestra doesn’t come.Eventually the charm of the personalities and the consistency of the staging win over, but it does show how much a conductor’s pacing Read more ...
David Nice
Sullivan’s Overture to The Yeomen of the Guard isn’t quite the equal of Wagner’s Prelude to Die Meistersinger – what is? – but its brass-rich brilliance and wholesome ceremonials wouldn’t have been possible without that great example. Cue the first of director Jo Davies’s missteps as a 1950s newsreel gives us the “backstory” of alleged spy Colonel Fairfax’s imprisonment: loud broadcast voice over Chris Hopkins’ already speedy account is a big mistake.Sometimes the fidgety routines for the chorus and three busbied tapdancers look like a halfhearted attempt to rival the more Read more ...
Miranda Heggie
Ainadamar - meaning "fountain of tears" in Arabic – is the name given to a natural spring high in the hills above the Andalucian city of Granada, the site where the poet and playwright Federico Garica Lorca was executed in 1936 during the Spanish Civil War. It’s also the name – and an apt one in many ways – of Argentinian composer Osvaldo Golijov’s extraordinary 2003 one act opera which tells the tale of Lorca’s life and death through a series of flashbacks.It is a ferocious mix of opera and flamenco in a production – a collaboration between Scottish Opera and Opera Read more ...