Opera Features
First Person: trans opera singer Lucia Lucas on Tippett’s 'New Year' and her life in musicTuesday, 16 July 2024
Until last week, Tippett’s New Year had not been staged since 1990, probably because it’s considered very hard to produce. I think it is generally harder than Britten. It’s also an ensemble piece; you need 10 people who are fairly accomplished in performing new works. Read more... |
First Person: Katharina Kastening on directing slimline Bizet in a year rich in 'Carmen' productionsSaturday, 06 July 2024
Peter Brook's reimagining of Bizet's Carmen condenses the scale of the original into a more intimate theatrical experience. The score has been starkly cut, the orchestra reduced, and only four singing roles remain: Carmen, Don José, Escamillo and Micaëla. There are also three speaking roles: Zuniga, Lillas Pastia and Garcia (Carmen's husband). Read more... |
Remembering conductor Andrew Davis (1944-2024)Saturday, 04 May 2024
As a human being of immense warmth, humour and erudition, Andrew Davis made it all too easy to forget what towering, incandescent performances he inspired. Now is a good time to recall those properly to mind, to listen to his huge discography, and to assess his proper place among the top conductors – again, as one of such versatility and range that, to adapt what Danny Meyer writes below, he might have been labelled a jack of all trades when he was a master of all. Read more... |
theartsdesk in Strasbourg: crossing the frontiersWednesday, 13 March 2024
A single pair of swans glided serenely under the bridges of the river Ill as I walked to the premiere of the Opéra National du Rhin’s new production of Lohengrin in Strasbourg on Sunday. Read more... |
theartsdesk in Ravenna - Riccardo Muti passes on a lifetime's operatic wisdomTuesday, 26 December 2023
Does “the practice of opera singing in Italy” need help from UNESCO, which has newly inscribed it on the “Representative List of the Intangible Cultural Heritage of Humanity”? Italian opera is surely immensely popular worldwide. But when it comes to practising the art properly, its greatest senior exponent, Riccardo Muti, powerfully argues that Verdi and Bellini, his most recent special projects in the city where he lives, Ravenna, need as much respect and care as Beethoven or Schubert. Read more... |
Michael Powell: a happy time with Bartók’s BluebeardTuesday, 19 December 2023
In his final years Michael Powell mooted the possibility of a Bartók trilogy. He wanted to add to the growing popularity of his work on Bluebeard’s Castle, the deepest of one-act operas, an idea he had previously rejected of filming the lurid "pantomime" The Miraculous Mandarin and, as third instalment, not the earlier ballet The Wooden Prince but a film about the composer’s time in America and his return, after death, to Hungary. Read more... |
theartsdesk at Wexford Festival Opera - four operas and a recital in one crazy dayWednesday, 08 November 2023
Imagine a Glyndebourne season where all those promising young singers in the chorus get to be principals in a series of fringe operas. At Wexford, they already have their work cut out, though this year not so much in the three main rarities – hence the sheer joy of witnessing so many fine performances in Puccini’s Suor Angelica and Gianni Schicchi, Donizetti’s La fille du régiment and Rossini’s L’Italiana in Algeri. Read more... |
theartsdesk in Ukraine - Stankovych's 'Psalms of War' at the Lviv National OperaFriday, 27 October 2023
Yevhen Stankovych is Ukraine’s most important living composer and – after decades of writing music that seems to grow from this country’s rich black earth, tribulations, literature and folklore – he now contributes, with his latest piece, the most cogent musical event of the current calamity. Read more... |
First Person: Director Sir David Pountney on creating a new 'Masque of Might' from the music of PurcellWednesday, 27 September 2023
Purcell came very early to me. When I was a chorister at St. John’s Cambridge “Jehova quam multi sunt” was a perennial favourite and we were thrilled by the evenings when George Guest brought in some string players to accompany Purcell’s verse anthems. These were special occasions. Then, since no management had the wit to invite me to direct Purcell, I finally engaged myself to direct The Fairy Queen at ENO. Read more... |
First Person: mezzo Stephanie Wake-Edwards on open dialogue and shared goals in the new show 'FEAST'Friday, 15 September 2023
“Do you actually speak like that?” was the first thing a senior colleague said to me during my initial week at a prestigious UK opera house. I’ve always had a tricky time understanding who I really am. |
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