Opera
David Nice
Christmas isn’t just for Christmas, Daisy Evans’s bargain-basement fir-trees-and-tinsel production of Humperdinck’s evergreen masterpiece seems to be telling us. Filmed in Glasgow’s Theatre Royal last December, the February online premiere doesn’t exactly, as she claims in her intro, tell us “why live theatre is valuable” - hint: it isn't, wasn't streamed live - though sure enough, we’re all “desperate to get back to it” (who’s applauding at the end, incidentally? There can’t have been an audience). I’d skip the first three minutes of sales pitch and go straight to the Overture.Which, with a Read more ...
Nicky Spence
Forget the pandemic, it's Brexit which could ring the death knell for artists who are currently hoarse from begging to be taken seriously as a respected export. From Tchaikovsky to Britten, music itself has always been offered visa free but as the repercussions of Brexit are truly felt in the UK, the stories I've collected below from my singing colleagues highlight our increasingly vulnerable position as artists.Thinking back to summer jobs selling tequila on the strips of Magaluf and now selling a Schöne Müllerin to a tentatively packed auditorium in Barcelona, the annexes negotiated in the Read more ...
Miranda Heggie
Though the global pandemic has brought about an unprecedented degree of isolation, it’s also, in unusual ways, brought us together too. Visiting New York’s Metropolitan Opera House is currently an impossible dream - the house is still completely dark. However, that’s not stopping the Met from bringing a wealth of concerts from across the world to a global audience. Some of its biggest names, including Joyce DiDonato, Bryn Terfel and Jonas Kaufmann, have given recitals from locations as unique as a historic Washington mansion, a castle in Oslo and Brecon Cathedral in Wales. Saturday’s recital Read more ...
David Nice
It’s second time lucky for OperaGlass Works, whose previous production at Wilton’s Music Hall, of Stravinsky’s The Rake's Progress, hit the mark for me in the singing but not the staging. I suspect that had we been there in the auditorium with performers all too palpable, the same might have been true of The Turn of the Screw in this venue. But Britten’s tricky adaptation with Myfanwy Piper of the ambiguous, first-person-narrated Henry James ghost story, a musical masterpiece, works best here when the camerawork allows distance on the ghosts of the former valet and governess who haunt Read more ...
Boyd Tonkin
“Death, be not proud, though some have called thee/ Mighty and dreadful, for thou art not so.” John Donne’s Holy Sonnets may summon all his art of wit and paradox to mock that might and dread; still, we sense the abject terror behind the formal acrobatics of the verse. Benjamin Britten wrote his great settings of these great poems after a visit to the liberated Bergen-Belsen camp with Yehudi Menuhin in summer 1945. A muted howl of anguish flecked with sparks of hope, they make for a mesmerically chilling song-cycle. As sung by tenor Richard Dowling, accompanied by pianist Ian Tindale and Read more ...
Richard Bratby
A darkened stage; a pool of light; a solitary figure. And then, flooding the whole thing with meaning, music – even it’s just a soft chord on a piano. It’s no secret to any opera goer that even the barest outlines of a staging can magnify the dramatic potential of a piece of music to a point when it can seem like a completely new work. And if – like English Touring Opera’s director James Conway – you’ve spent much of the 21st century creating large-scale drama in small venues with minimal resources; well, it all starts to look deceptively easy. Conway makes a pairing of two song cycles by Read more ...
David Nice
Surreal fantasy came off best this year, before and after the fall. It seems like a decade ago when audiences of all ages were packed tight to crack up - or not get it - at Covent Garden for the UK stage premiere of Gerald Barry's Alice's Adventures Under Ground in a tirelessly resourceful production by director/designer Antony McDonald. Another brief flourish to a much smaller Royal Opera House audience in October reached many more spectators online with the realisation of the house's new Director of Opera Oliver Mears' idea for staging song cycles/cantatas in the dazzling 4/4 sequence.In Read more ...
David Nice
So Hansel and Gretel can’t cuddle up together in the dark forest, Musetta doesn’t fall into long-suffering lover Marcello’s arms and there’s no audience to play to (as there would have been three days earlier). No matter: the Christmas-tree-grown-enormous from the stalwart production of The Nutcracker keeps us gaping, the singers young, established and old duly deliver and Mark Wigglesworth elicits sweep and brio from a substantial Royal Opera Orchestra.Up to this point, Royal Opera film presentation in its streamed events has been impeccable. Filming and lighting are once again first rate, Read more ...
stephen.walsh
List all the problems that the pandemic places in the way of operatic performance, and you might well end up wondering why anyone would bother. Opera Ensemble, however, have bothered, in the shape of an accomplished and moving production of Leoncavallo’s Pagliacci, stripped down in a variety of ways, deprived of its normal house-mate, Mascagni’s Cavalleria rusticana, and accompanied by a band in various degrees of shrinkage: a piano trio when the production opened at St.James’s Church, Islington, in October, and for a couple of performances at the Grange Festival earlier this month, nothing Read more ...
Christopher Lambton
For its latest production, unveiled on Sunday evening but recorded in November, Scottish Opera toys playfully with the absurdities of Covid-compliant performance practice. But maybe sensing our weariness with the whole business, it is not overdone. In fact this is a relatively straightforward concert staging of Mozart’s dark and unsettling comedy.The orchestra is on a darkened stage, behind the proscenium arch, ghostly masked figures barely visible behind a multitude of flexible perspex screens. The stage is extended over the orchestra pit and lightly furnished with a table, two chairs and a Read more ...
Susan Bullock and William Dazeley
Two of the singers in an ambitious project to film Britten’s opera based on a Henry James story – part timeless tale of repressive tradition which chimed with the composer's pacifist beliefs, part ghost story – which was originally “made for television” and premiered on the BBC, give their impressions close to the time of filming.William DazeleyIt began with an email under the heading “another crap job!” It involved traipsing around town, trawling through charity shop clothes rails in search of a slightly shabby, well-loved jacket. Then came two highly unusual costume fittings, one in a car Read more ...
David Nice
Colette’s sharply fantastical libretto for Ravel’s second one-act opera imagines wrongs exercised upon objects and animals by a naughty child revisited by the victims upon the perpetrator. In a giddying venture which may be the most imaginative use yet of circumscribed lockdown days, director and founder of the new Virtual Opera Project Rachael Hewer turns Colette into Carroll, and instead parades a sequence of illogical tableaux set in this time of Coronavirus. That they work so brilliantly is due to artist Pearl Bates's visual sorcery and the further design work of Leanne Vandenbussche as Read more ...