Opera Reviews
Requiem, Opera North review - partnership and diversityWednesday, 31 May 2023
Innovation is always a risky business. Opera North’s vision and ambition for this production is to create, in effect, a new genre: a combination of staged choral-orchestral performance with contemporary dance. Read more... |
Götterdämmerung, Longborough Festival review - from the hieratic to the mundane and backTuesday, 30 May 2023
Götterdämmerung is not only the grandest of Wagner’s Ring operas, it is also the most varied. Siegfried’s journey down the Rhine transports him in a short quarter-hour from the hieratic world of the Norns and the World Ash to the soap-opera of the Gibichungs and their anxieties about marriage and political standing (opinion polls?). Read more... |
L'elisir d'amore, Glyndebourne review - fun and unfussy, with quality at its coreMonday, 29 May 2023
Sometimes a production which isn’t trying to do anything too clever can be quite refreshing. Sinéad O’Neill's revival of Annabel Arden’s 2007 Glyndebourne touring production of Donizetti’s L’elisir d’amore is just that. Read more... |
Wozzeck, Royal Opera review - orchestral and visual beauty salve human misery at its most extremeMonday, 22 May 2023
If you’re going to be locked in an auditorium with a crazed soldier for over 90 minutes, you need to be overwhelmed by the human frailty and baseness in Büchner’s still-shocking stage play of the late 1830s, the spiderweb beauty of Berg’s 1925 score to match it and a vision in various stage pictures. Director Deborah Warner, conductor Antonio Pappano and set designer Hyemi Shin deliver on all fronts. Read more... |
Don Giovanni, Glyndebourne review - stunning, exuberant production reveals human nature in all its complexitySaturday, 20 May 2023
Why stage Don Giovanni in a post #MeToo world? That’s the question most frequently being asked about Mariame Clément’s new production for Glyndebourne and on its opening night she delivered a response that was as conceptually subtle as it was visually flamboyant. Read more... |
The Pearl Fishers, Opera North review - focus on the mysteryWednesday, 17 May 2023
The Pearl Fishers is very much a mid-19th century Romantic opera, with a plot that’s basically a love triangle set in an exotic location. Its writers, Michel Carré and Eugène Cormon, were not the greatest of plot inventors, and after hearing the opening scene alone, you might think much the same about the inspiration of the music, beautifully crafted though it is. Read more... |
Blue, English National Opera review - the company’s boldest vindication yet?Monday, 24 April 2023
Two recent operas by women have opened in London’s two main houses within a week. Both have superbly crafted librettos dealing with gun violence without a shot being fired, giddyingly fine production values and true ensembles guided by perfect conducting. The main difference is that while Kaija Saariaho’s Innocence feels to me ice-cold musically, and not always coherent with dramatic or vocal possibilities, Jeanine Tesori’s Blue hits us in the guts when it matters most. Read more... |
Arminio, Royal Opera review - Handel does Homeland, and it worksSaturday, 22 April 2023
Invasion by a colonising power has convulsed a country, dividing families – even individuals – between the rival claims of resistance and collaboration. A captured freedom-fighter from the indigenous elite faces execution; an imperial general hopes to wed his widow and bring a kind of peace to the conquered land. Read more... |
Innocence, Royal Opera review - timely, layered drama with almost incidental musicTuesday, 18 April 2023
To create a sensitive and original music-drama around the subject of a school killing is a colossal achievement. Director Simon Stone, set designer Chloe Lamford and novelist Sofi Oksanen’s cutting libretto make Innocence seem like a masterpiece. I wish I were less ambivalent about Kaija Saariaho’s score. Read more... |
Theodora, Arcangelo, Cohen, Barbican review - gloriously dark and soberThursday, 30 March 2023
Handel’s Theodora – voluptuously beautiful, warm-to-the-touch music, yoked to a libretto of chilly piety about Christian martyrdom in 4th-century Rome. It’s a red rag to directors, and there’s a relief to seeing the oratorio in the concert hall, where the composer is cut free from a lot of acrobatic conceptual wriggling. And really, when it sounds like this, you need nothing more. Read more... |
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