wed 21/08/2019

Opera Reviews

Edinburgh International Festival 2019: Eugene Onegin, Komische Oper review - no-holds-barred romanticism

Miranda Heggie

Returning to Edinburgh International Festival, Berlin's Komische Oper brought Barrie Kosky’s sumptuous production of Eugene Onegin to the Edinburgh Festival Theatre. It’s a production that isn’t trying to do anything overly clever or convey a layered meaning; it’s simple in its grandeur in that it looks beautiful, sounds beautiful, and is faithful to Tchaikovsky’s music and Pushkin’s story.

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Rinaldo, Glyndebourne Festival review - teenage dreams

Miranda Heggie

If you’d started senior school when this production premiered, you’d be finished by now and out in the world of work or at university, your first year days a distant memory. A lot’s changed since the curtain first came up on this version in 2011, and nearly a decade on, and in the wake of #metoo, Robert Carsen’s high school-set production feels more than a little out of date.

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The Gondoliers, National Gilbert & Sullivan Opera Company review - charm where it matters

Richard Bratby

Once more, gondolieri! Gilbert and Sullivan's The Gondoliers leaps into life to the sound of a saltarello: a blaze of Mediterranean sunshine and good natured exuberance that sweeps you some 20 minutes into Act One on the same unbroken surge of sparkling dance and ensemble song.

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L'Arlesiana, Opera Holland Park review - at last, a rare Italian gem

David Nice

So many second-rate Italian operas with good bits have been served up by Opera Holland Park and glitzier UK companies; despite best intentions and fine execution, none of the works by Mascagni, Zandonai, Alfano, Leoni, Ponchielli or Giordano has really flown.

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War and Peace, Welsh National Opera, Royal Opera House - bold epic weakened by loosely-directed characterisations

David Nice

On the UK's biggest day of shame, it was some relief to tap in to the fury of the Russian people at a much greater national degradation (Napoleon's invasion in 1812, Hitler's in 1941).

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Il Segreto di Susanna/Iolanta, Opera Holland Park review - superb singing, mixed staging

alexandra Coghlan

Secrets, and the voluptuous, sensory pleasures they conceal, may unite Wolf-Ferrari’s Il segreto di Susanna and Tchaikovsky’s Iolanta, but far more divides two works that make awkward bedfellows in Opera Holland Park’s latest double-bill.

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Die Zauberflöte, Glyndebourne Festival review – high jinks in the Grand Mozart Hotel

Boyd Tonkin

Die Zauberflöte rarely attracts the plain cooks of the operatic world. Mozart’s farewell opera chucks so many highly-spiced ingredients into its outlandish pot – pantomime and parable, burlesque and ritual – that many productions opt for one show-off recipe that promises to unify all its flavours into a single, spectacular dish....

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Pavarotti review - enjoyable but superficial survey of a superstar

Adam Sweeting

One of the most memorable moments in Ron Howard’s documentary about Luciano Pavarotti is one of its earliest scenes. It’s a chunk of amateur video shot when Pavarotti visited the Teatro Amazonas in Manaus, a splendid Belle Epoque structure in the midst of the Amazonian jungle.

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Don Giovanni, Longborough Festival Opera review - Mozart in the urinal

stephen Walsh

One of the features of the converted barn that forms the theatre at Longborough is a trio of statues that tops the front pediment of the building: Wagner, flanked by Verdi on the right and Mozart on the left. No one could question Wagner: Longborough has done him proud.

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Eugene Onegin/Georgiana, Buxton Festival review - poetry and pantomime

Richard Bratby

It’s the saddest music in the world: the quiet heartbeat and falling melody with which Tchaikovsky opens his opera Eugene Onegin. Imagine a whole society, a whole lifetime of solitude, longing and disillusion, evoked in a single bass note and a few bars of tearstained violin. And then imagine it sustained over three acts.

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