Opera Reviews
Roméo et Juliette, Royal OperaWednesday, 27 October 2010
We sophisticates aren't really meant to enjoy Gounod. His simple 19th-century brew - five parts sentimentality, one part religiosity - isn't supposed to wash with modern palettes that crave layers of meaning, irony and social context. The ENO's solution last month was to present a version of Gounod's Faust that had these elements filled in. It flopped. Read more...
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La Bohème, English National OperaMonday, 18 October 2010
Debuting last February at the height of the economic crisis, Jonathan Miller’s freshly minted Bohème was a timely operatic glance in the social mirror. Almost two years on, and the hardships of his young Bohemians seem no less apt. With fiscal collapse so conveniently on the horizon, a lesser director might have succumbed and offered up a “relevant” contemporary treatment. It is to Miller’s credit (and one in the eye to those critics who so routinely deplore his smugness) that he... Read more... |
The Merry Widow, Opera NorthSunday, 17 October 2010
It’s such a pity that the more striking elements in Franz Lehár’s orchestration are heard so fleetingly, such as the tiny glints of cimbalon which give the best parts of the score an authentic bohemian - or Pontevedran - flavour. But too often the relentless parade of waltzes and polkas begins to grate, and you’re about to nod off when suddenly something ear-catching happens – a sequence of gorgeous string portamenti, a languorous violin solo, or stopped horn chords that sound as if they’ve... Read more... |
The Duenna, English Touring Opera, Linbury Studio TheatreThursday, 14 October 2010
Christmas has come early to the Royal Opera House this year. Without a single shout of “He’s behind you!” or even an implausibly-uddered dancing cow, pantomime season is well and truly underway in the form of The Duenna – a corset-straining, britches-splitting, liquor-quaffing delight of a comedy. All of Richard Brinsley Sheridan’s familiar wit and whimsy are here, and if they frequently need to pause and sprawl themselves out upon a comfortable melody, then so much the better. What... Read more... |
The Turn of the Screw, Opera NorthMonday, 11 October 2010
To paraphrase a cliché, it’s rare to leave a theatre humming the lighting. But here, Matthew Haskins’ lighting designs help make this production so powerful and evocative, whether projecting grotesque, distorted shadows on the back wall of Madeleine Boyd’s claustrophobic set, or illuminating characters’ subtle facial expressions. Read more... |
Ariadne auf Naxos, Welsh National OperaFriday, 08 October 2010
Ariadne auf Naxos, according to its librettist Hugo von Hofmannsthal, is all about fidelity: fidelity in love, fidelity in art, fidelity in spirit. Ariadne on her island, abandoned by Theseus, can give herself to Bacchus only by persuading herself that he’s a god. The actress Zerbinetta gives herself to every man in sight, including the Composer (played, incidentally, by a girl), who for a moment weakens in his lofty contempt for these comic actors who intrude on his high ideals... Read more... |
Radamisto, English National OperaFriday, 08 October 2010
If interior décor could shout, then last night’s music might have proved altogether incidental. The curtain rises to reveal a set gift-wrapped – ramparts, city walls and all – in the brightest of hot-pink damasks: a Nicky Haslam acid trip. Ladies and gentlemen, we are now entering operatic Orient 2.0, a sexy, postmodern take on the original you know and love, complete with an oversized menagerie of animals, evil tyrants and exotic princesses. Read more... |
Les Pêcheurs de Perles in concert, Royal Opera HouseMonday, 04 October 2010
Ditch the divers, the video-projected sea and the Relevance with a capital R of ENO's production last season - which managed all three very well indeed - and what remains of Bizet's Pearl Fishers in concert (and in French)? Three ravishing arias, three passionate duets, orchestration and harmony of a subtlety way beyond the plot's cod... Read more... |
The Seckerson Tapes: Ailish Tynan on RadamistoSunday, 03 October 2010
Ailish Tynan plays a short, fat, bald man in David Alden's staging of Handel's Radamisto at ENO. It is, she says, an occupational hazard when venturing into the cross-gender world of 18th-century opera. That Tynan is one of our brightest young stars - a shining lyric soprano equally at home in the rarefied world of song as she is in opera - only adds to the somewhat surreal prospect of hearing that voice emanating from a grotesquely fat-suited body. Read more... |
Sellars and Viola's Tristan und Isolde, Royal Festival HallSunday, 26 September 2010
People always overlook how much of a hippie Richard Wagner was intellectually. His philosophical stance differs little from that of Neil from The Young Ones. It's a side of Wagner you can't get away from in Tristan und Isolde, with its endless railing against temporal realities and its search for universal oneness - yeah man, oneness. Read more... |
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