Opera Reviews
2011: Anthemic Elbow, Iranian drama, and Fear and Loathing in ElsinoreWednesday, 28 December 2011
The Barbican has always led the way in London in international theatre programming. The year there ended on a high, with Thomas Ostermeier’s Hamlet from the Schaubühne laying down new markers for transgressive commitment. I was sceptical about it when I saw the Berlin première in 2008, and our own critic was not, commendably enough, in a mood to be fooled around with. Read more... |
2011: Unlovely Love Stories and Unerotic Erotic TalesWednesday, 28 December 2011
While I'm still learning to disentangle my mezzo from my Meistersinger, I enjoyed a lot of the opera on offer in London this year, especially at English National Opera. Parsifal was perfect and Rameau's Castor and Pollux, while probably a little too Germanic in direction with its dancing amputated legs and unerotic nudity, was wonderfully sung. Read more... |
Die Meistersinger von Nürnberg, Royal OperaTuesday, 20 December 2011
A young chap from Elsewhere woos an alderman's daughter: not Dick Whittington in panto London, but Wagner's Walther von Stolzing in an unseasonal Nuremberg. Read more... |
UnDance, Mark-Anthony Turnage/Wayne McGregor/Mark Wallinger, Sadler’s WellsFriday, 02 December 2011
It is unusual in art for collaborators to be of equal star-wattage. The pairing of Benjamin Britten and WH Auden was one such. Another, much longer-lasting, was Stravinsky and Balanchine, a partnership of equals that endured for nearly half a century. More recently, Antony Gormley has worked with both Akram Khan and Sidi Larbi Cherkaoui, to great effect. Read more... |
Tosca, English National OperaSunday, 27 November 2011
Who is more likely to be an operatic creature of flesh and blood: Puccini's young diva, unexpectedly caught up in the infernal machine of a lustful tyrant, or Tchaikovsky's teenager impetuously pouring out her soul in a love letter to a man she's just fallen for? Usually, you'd go for Tatyana over Tosca every time. At ENO it's currently the other way round. Read more... |
The Merry Wives of Windsor, Guildhall School of Music and DramaTuesday, 15 November 2011
Theatregoers may be disappointed to read on and discover I mean Otto Nicolai's Die lustigen Weiber von Windsor, the only 19th-century Shakespeare-based opera in the German language to hold the stage. Which it did, and not just in Germany, until the arrival of Verdi's infinitely superior Falstaff. Is this that rare thing, German comedy in music between Beethoven's Eighth Symphony and Richard Strauss's Till Eulenspiegel that's actually funny? Read more... |
Eugene Onegin, English National OperaSunday, 13 November 2011
What’s not to love about Tchaikovsky’s candid, lyric scenes drawn from Pushkin’s masterly verse novel? ENO’s advance publicity summed it up neatly by promising “lost love, tragedy, regret”. We’ve most of us been there. That does mean that truthfulness to life can count for even more in a performance than good singing. Read more... |
The Mikado, Charles Court Opera, King's Head TheatreTuesday, 08 November 2011
Is this the year that G&S became definitively chic again? The slow-burn effect of ENO's "Miller Mikado" and Mike Leigh's Topsy-Turvy now results in numerous fringe benefits. Sasha Regan's all-male Union Theatre regime has delivered its best yet - Iolanthe at Wilton's Music Hall, the most touching and funny show I've seen over the last 11 months - and now Charles Court Opera gives us more witty operetta-in-close-up with a cast of nine backed up by two pianos. Read more... |
Duke Bluebeard's Castle, Philharmonia Orchestra, Salonen, Royal Festival HallFriday, 04 November 2011
Sometimes the most disturbing images exist only in our imaginations - and so the questions posed in the preface to Bartók’s operatic masterpiece Duke Bluebeard’s Castle become especially pertinent: “Where did this happen - outside or within? Where is the stage - outside or within?” The answers, surely, lie “within”, making the prospect of a “semi-staged” climax to Esa-Pekka Salonen’s Philharmonia Bartók series, Infernal Dance, a potentially troubling one. Read more... |
La Sonnambula, Royal OperaThursday, 03 November 2011
Imagine what John Cleese might have done with the tale of a slutty sleepwalker who finds herself staying at a packed provincial guest house? Bellini doesn't even touch on farce, let alone psychological investigation. He instead follows the archetypal bel canto formula: dramatic thinness and vocal display. Read more... |
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