Opera Reviews
Prom 68: Semiramide, OAE, ElderMonday, 05 September 2016
Between the Berlin Philharmonic, Leipzig Gewandhaus Orchestra and Simón Bolivar Symphony Orchestra it has been a big week at the Proms, in every sense. Scope and scale have been the watchwords for the orchestral tectonics that have taken place, the sonic landscapes that have been formed and reformed. Read more...
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Prom 45: The Makropulos Affair, BBCSO, BělohlávekSaturday, 20 August 2016
Karel Čapek, the great Czech writer who pioneered some of the most prophetic dramatic fantasies of the early 20th century, thought Janáček was nuts to want to set his wordy play about a 337-year-old woman to music. He could not have anticipated what that septuagenarian genius would achieve. Some of us felt similarly doubtful about singers performing this most conversational of operas with scores and music stands in a "concert staging". Read more... |
A Midsummer Night's Dream, GlyndebourneFriday, 12 August 2016
Britten’s A Midsummer Night’s Dream is too other-worldly to have anything as mortal as a musical heartbeat. Pulsing through it instead are musical quivers, jolts of eerie energy first heard in the opening cello glissandi. Read more... |
The Exterminating Angel, Die Liebe der Danae, Salzburg FestivalWednesday, 03 August 2016
"Because the world has outlived its own downfall, it nevertheless needs art." Paul Celan's words stand alongside Anselm Kiefer's Jacob's Dream, part of a stunning Surrealism-centric exhibition in the foyer of Salzburg's second and more amenable festival venue, the Haus für Mozart. What a meaningful motto it turned out to be for both of this year's major festival offerings, good and bad. Read more... |
The Yeomen of the Guard, National Gilbert & Sullivan Opera CompanyTuesday, 02 August 2016
By the end of Act One of The Yeomen of the Guard there's been a jailbreak, a clandestine marriage, a swapped identity and a cancelled beheading. The chorus sings, halberds are brandished, and a jester jests. Even by Gilbert and Sullivan standards, it’s one heck of a tangle. Read more... |
Kommilitonen, Welsh National Youth Opera, BarryFriday, 29 July 2016
What happened was this. I found my way, not without difficulty, to the Barry Memo Arts Centre, got my ticket, had a chat with the librettist, stopped to order an interval drink, then turned round to discover that the entire audience had disappeared, as if eliminated by a Star Wars de-atomiser, or whatever those things are called. Read more... |
Béatrice et Bénédict, GlyndebourneThursday, 28 July 2016
Locations count for little in most of Shakespeare's comedies. Only a literal-minded director would, for instance, insist on Messina, Sicily as the setting for Much Ado About Nothing. In Béatrice et Bénédict, on the other hand, Berlioz injects his very odd Bardolatry with lashings of the southern Italian light and atmosphere he loved so much. Read more... |
Prom 11: Wilson, Creswell, BBC National Orchestra and Chorus of Wales, WigglesworthSunday, 24 July 2016
It's not often you think you detect a future Brünnhilde in a soprano performing a great Verdi role, but that was the case when American Tamara Wilson made her UK debut last autumn as a stunning Leonora in the ENO production of Verdi's The Force of Destiny. So would she sing the Ring? Not for 10 years at least, she said. Read more... |
The Golden Dragon, Music Theatre Wales, Buxton FestivalTuesday, 19 July 2016
It’s the kitchen of a Thai-Chinese-Vietnamese fast food restaurant. The onstage orchestra wear sweatbands and T-shirts, and a red work surface stretches across the stage. As the four chefs take the stage, the clatter of pans and knives is first noise, then a rhythm, then an overture of sizzling, clanging, chopping and hissing sounds that spreads throughout the whole orchestra. Read more... |
Jenůfa, Longborough Festival OperaMonday, 18 July 2016
Quite apart from its inherent power, Jenůfa always amazes me by the way it seems to pluck a new language out of thin air, then use it to carry one of the most moving and emotionally truthful works in the repertory. Its curiously staccato form of lyricism lays heavy demands on singers trained in Wagner or Verdi. Read more... |
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