Opera Reviews

The Marriage of Figaro, English National Opera

Igor Toronyi-Lalic Thursday, 06 October 2011

Fiona Shaw's new production of The Marriage of Figaro for the ENO focuses on the theme of entrapment. Her first victim? A noisy bee. Don Basilio finds himself so harassed by its buzzing, he confines it to the body of a harpsichord. Magically, a few seconds later, the low hum reappears - on strings and bassoons.

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Ruddigore, Opera North

graham Rickson Saturday, 01 October 2011

Revived with almost indecent haste, Jo Davies’s 2010 production of Gilbert and Sullivan’s Ruddigore now feels even more polished and slick. Slickness is not a derogatory term here; this staging hits the spot in pretty much every way – musically, dramatically and visually.

Madam Butterfly, Mid Wales Opera

stephen Walsh Saturday, 24 September 2011

There are several types of garden opera, and there are also, happily, several types of cinema opera. You can rustle your Werthers through a relay from the Met and endure the touchy-feely interviews with panting mega-sopranos just out of Verdi’s “Sempre libera”; or you can pick up a small touring company like Mid Wales Opera at the Pontardawe Arts Centre or the Aberdare Coliseum, and watch real opera sung by human beings in unhelpful surroundings.

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The Passenger, English National Opera

David Nice Tuesday, 20 September 2011

No two creative artists have a stronger right to make a valid statement about Auschwitz than a Polish-born composer who escaped his family's fate by fleeing to Russia, only to fall into another anti-Semitic trap, and a Polish writer whose clear-eyed transmutation of her three years in the camp inspired the opera. Neither, of course, guarantees the end result of great art.

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Faust, Royal Opera

Igor Toronyi-Lalic Monday, 19 September 2011

That Faust - Gounod's curdled Victorian dessert of an opera, an overwhipped melange of melodrama and misogyny, topped with grand 19th-century dollops of religiosity - achieves a level of profundity that at one stage nearly had me in tears is an absolute miracle.

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Madam Butterfly, Opera North

graham Rickson Sunday, 18 September 2011

It’s easy to accuse opera companies in these straitened times of wanting to play safe. Opera North’s 2011-12 season is slightly slimmer than one would expect, but includes five new productions, and the revivals fully deserve their resurrection. Ruddigore is one. Tim Albery’s 1950s update of Madam Butterfly, first performed in 2007, is the other, and it's been given a classy resurrection here.

Don Giovanni, Welsh National Opera

stephen Walsh Saturday, 17 September 2011

After a summer of operas set in what might tactfully be called fancy locations, it comes as a mild shock to return to Wales and a Don Giovanni that actually takes the composer’s instructions as its starting-point. John Caird, whose first ever production for WNO a few years back was Don Carlos, revisits Spain without a qualm. He gives us heavily embossed ironwork and carved oak, he gives us cowled monks and cloaked aristocrats.

The Elixir of Love, English National Opera

alexandra Coghlan Thursday, 15 September 2011

“An elixir with a kick, sir, one that really packs a punch”, sings Adina in Jonathan Miller’s Midwestern The Elixir of Love, and she couldn’t be more right. A night spent among the floral prints, perky ponytails and pastel wipe-down surfaces of this production is like being battered around the head with a bouquet of roses wielded by Doris Day.

Il Trittico, Royal Opera House

David Nice Tuesday, 13 September 2011

You don't need to buy into the loose hell-purgatory-paradise trajectory of Puccini's one-act operas to greet the triptych as his comprehensive masterpiece, full of wry interconnections, orchestral wizardry and grateful if tough vocal writing.

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BBC Proms: Der Freischütz, Orchestre Révolutionnaire et Romantique, Gardiner

Igor Toronyi-Lalic Saturday, 10 September 2011

What kind of work could possibly elbow aside the time-honoured ritual of performing Beethoven's Ninth on the penultimate (ie, the last serious) night of the Proms? The kind that even Beethoven was gobsmacked by.