Opera Reviews
Classical and Opera 2013: A Year of AnniversariesSaturday, 28 December 2013
Which musical calendar year isn’t laden down with composer commemorations, too often a pretext for lazy and unimaginative planning? The last 12 months, with Verdi, Wagner and Britten as the birthday boys (in case you failed to hear), have raised the stakes. Read more... |
Fantasio, OAE, Elder, Royal Festival HallMonday, 16 December 2013
Readers who recall the 1872 Paris premiere of Offenbach’s Fantasio have had 141 years to wonder when its British debut would arrive. Read more... |
Parsifal, Royal OperaSunday, 01 December 2013
Is anyone else sick of creepy brotherhoods skewering the transcendent in Mozart’s and Wagner’s late operas? Both Sarastro’s cult and the company of the grail are in sore need of change - "fresh blood" would be an unfortunate term under the circumstances - when we first encounter them. Read more... |
Britten 100: An Aldeburgh Centenary DiaryTuesday, 26 November 2013
The most intensive period of music-making I’ll ever experience, celebrating the 100th birthday of Benjamin Britten in and around his home town, ended on Sunday. I’m an Aldeburgh resident and I attended everything on offer. I thought the best way to provide an overview was to compile a diary of the past four days with a line or two about each event. Thursday 21 November (eve of the birthday) Read more... |
Albert Herring, BBCSO, Bedford, BarbicanSunday, 24 November 2013
Three cheers for good old Albert, natural laugh-out-loud heir of Verdi’s Falstaff and Puccini’s Gianni Schicchi, and the best possible way to mark creator Britten’s being one hundred years and one day old. Youth has its day in both those earlier masterpieces, but the lovers are subordinate to the middle-aged comic protagonists. Here they're the equals of a hero who is no scamster but a shy grocer’s boy who busts out drinking and worse to loosen the apron strings of a prim community. Read more... |
Sonica, GlasgowSaturday, 23 November 2013
At first it looked like a joke. But, as each muscle spasm, set off by an electric shock, did appear to produce a pained expression in the performer and a subsequent note, one slowly had to accept that these four string quartet players were indeed being electrocuted into performance. The Wigmore Hall, it wasn’t. Sonica, it certainly was. Read more... |
The Magic Flute, English National OperaFriday, 08 November 2013
There’s a scene in Mozart’s most metaphysical opera which Ingmar Bergman, creator of what is still the richest of all Magic Flutes, describes as “at the outermost limit of life”. Hero Tamino seems to have reached a point of no return and no going forward. “When will this darkness end?”, he asks, and voices reply, “Soon, soon or never”. Read more... |
Don Giovanni, Opera VeraSunday, 03 November 2013
For a brand-new opera group to set something as ambitious as Don Giovanni before an audience demands sackfuls of self-awareness and confidence. But the eight young singers of Opera Vera are no mere enthusiasts – they are rich in experience and can all boast busy CVs – so it would be discourteous to consider them by anything other than rigorous professional criteria. Read more... |
Wozzeck, Royal OperaFriday, 01 November 2013
You could hardly ask for a better cast than the one assembled for this short run of Wozzeck at the Royal Opera House: Simon Keenlyside in the title role, Karita Mattila, John Tomlinson, Mark Elder in the pit. And at a top price of £65, with many tickets going for much less, this is quite the bargain – not least because the marquee names absolutely nail the performance. Read more... |
Death in Venice, Opera NorthSaturday, 26 October 2013
From the strange, stuttering opening to its elegiac, drawn-out coda, this is an exquisite, lovingly realised staging of Britten's last opera. It's so good that it amplifies any doubts that you might have about this peculiar, distinctly unlovable piece. Read more... |
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