Opera Reviews
Amadigi, Garsington Opera review – geometries of enchantmentSunday, 27 June 2021
In Handel’s operas (as, indeed, elsewhere in art and life) the worst witch may turn out to have the best character. Without the sorceress Melissa, splendidly full of evil ruses yet endowed with a generous measure of tragic pathos, Amadigi di Gaula might freeze into a static amorous stand-off between pasteboard nobles contending with a harsh – then, suddenly, kindly – fate. Read more... |
BBC Cardiff Singer of the World 2021 Final, BBC Four review – an embarrassment of vocal richesMonday, 21 June 2021
A massive musical hope for the future is what we all need right now, after 14 stop/semi-start months and a threatened decimation of the concert and opera scene, the danger of which isn't over yet. Read more... |
Ivan the Terrible, Grange Park Opera review - from tsar to Stalin in five lopsided scenesMonday, 21 June 2021
All 15 of Rimsky-Korsakov’s operas deserve to be seen and heard live at least once, though not all of them need staging. Read more... |
Der Rosenkavalier, Garsington Opera review - musical marvels, drama less often fulfilledFriday, 18 June 2021
Whatever else happens on the country opera scene this summer, the golden rose award for sheer chutzpah goes to the ever-ambitious Garsington team in pulling this off in no small style. Planning any production of Richard Strauss and Hugo von Hofmannsthal’s intricate 1911 “comedy for music” is daring at the best of times; in the still-shaky Covid era, the decision to go ahead might have seemed foolhardy. Read more... |
La traviata, Opera Holland Park review – a revival in rude healthMonday, 07 June 2021
Loudly and painfully, the consumptive Violetta wheezes before we hear a single note. Her pitiful gasping for the breath that deserts her precedes the prelude to Opera Holland Park’s La traviata; the same effect ushers in Act Three. Read more... |
Eugene Onegin, Garsington Opera review - choral and orchestral opulence for TchaikovskyMonday, 07 June 2021
Peasant harvesters enter from the facsimile of Lady Ottoline Morrell’s Garsington garden to the right (stage left) of the state-of-the-art pavilion and, splendidly led by a solo tenor (Dominick Felix), burst into song. The temptation is to burst into tears, for this is the first time, surely, any of us has heard a rich, full chorus live for over a year. Read more... |
Die Walküre, Longborough Festival Opera review - heroic defiance of farcical constraintsFriday, 04 June 2021
Whatever might be said about Longborough Festival’s first live opera since 2019, the first and most important thing is to praise the company without reservation for putting on a show of anything like this quality in the face of obstacles of the sort that normally confront the heroes of Russian fairy tales. Read more... |
Il turco in Italia, Glyndebourne review – who knew 1950s neorealism could be such fun?Monday, 24 May 2021
The new Glyndebourne production of Rossini's Il turco in Italia has a truly winning smile on its face and a spring and a dance in its musical step. It is brimful of fun and good ideas, conveying the sense that a lot of joy has been had in its making. Read more... |
Káťa Kabanová, Glyndebourne review - a misalliance of metatheatre and the mundaneFriday, 21 May 2021
Angels and birds throng the inner life of tragic heroine Katya Kabanova, very much centre-stage in Nikolay Ostrovsky’s The Storm and achingly so in Janáček’s musical portrait. Director Damiano Michieletto takes the feathers, adds cages and claustrophobic white walls, and makes the symbolism the thing. Read more... |
Current, Rising, Royal Opera House review - a joyful celebration of storytelling possibilityFriday, 21 May 2021
This isn’t an opera review, because Current, Rising is not an opera. What it is, however, is the most convincing example yet that Virtual Reality arts might not just be possible, but desirable – an experience that glances beyond gimmick towards genuinely new territory. Read more... |
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