Opera Reviews
Semiramide, Royal Opera review - Rossini's Queen is backMonday, 20 November 2017
It has long been a mystery why no new production of Semiramide should have been staged at Covent Garden since 1887: un offesa terribile considering that this splendid melodramma tragico should have been the inaugural production of the Royal Italian Opera House (our current theatre’s predecessor) in 1847. Read more...
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Marnie, English National Opera review – hyped new opera doesn’t hit the heightsSunday, 19 November 2017
The great and good of the London music scene were gathered at English National Opera last night for the unveiling of American Wunderkind Nico Muhly’s new opera, Marnie. Although it was commissioned by the Met in New York, somehow ENO managed to wangle the world premiere, which has been widely hyped and was ecstatically received by a packed house. Read more... |
Lucia di Lammermoor, Royal Opera review - creepy, violent and intenseTuesday, 31 October 2017
Katie Mitchell’s production of Lucia di Lammermoor opened at Covent Garden in 2016 and now returns for a first revival. Royal Opera were clearly expecting great things, even from the start, and this is the third cast to have presented the show, after two separately cast runs last year, and a commercial DVD is also available. Read more... |
The Consul, Guildhall School review - blowsy melodrama rooted by committed studentsTuesday, 31 October 2017
Fancy that: the day after the last major Menotti staging I can remember in the UK, The Medium at the Edinburgh Festival, "splendid piece of post-Puccinian grand guignol" turned up in two different reviews (moral: don't discuss the performance with your colleagues). Read more... |
Crowe, The English Concert, Bicket, Milton Court review - Mozartian prima-donna perfectionThursday, 26 October 2017
Singing students from the Guildhall School should have been issued with a three-line whip to fill the inexplicably half-empty Milton Court concert hall for last night's charmer. After all, every musician, and not just sopranos, should know that this is how it ought to be done. True, an effervescent personality like Lucy Crowe's can't be simulated. But every other respect of her stunningly sung and varied Mozart... Read more... |
Written On Skin, Melos Sinfonia, LSO St Luke's review - an ambitious musical achievementSunday, 22 October 2017
Beautiful though Katie Mitchell’s original production of Written on Skin is, George Benjamin and Martin Crimp’s opera has always felt more at home in the concert hall. Last year’s Barbican performance put Benjamin’s meticulous orchestral writing absolutely in the spotlight, but perhaps this “concert-staging” – fully directed, but minimally staged – offers the best solution yet, allowing orchestra and action to share focus in this gripping piece of musical storytelling. Read more... |
The World's Wife, Wales Millennium Centre, Weston Studio review - the power and frustration behind the throneMonday, 16 October 2017
How many dead female composers can you name? Tom Green, the composer of this stunning one-woman show, could initially only think of five (I managed thirteen while waiting for the show to start, but then I’ve been around somewhat longer than he has, and knew one or two of them). In any case he soon dug up a few more, and based his score entirely on more or less unrecognisable quotations from their work – or so he claims. Read more... |
Lucy Worsley's Nights at the Opera, BBC Two review - there's anti-elitism, and there's infantilismSunday, 15 October 2017
The first thing to say about Lucy Worsley’s Nights at the Opera (BBC Two) is that it is laser-aimed at those who have not enjoyed many nights at the opera. Enjoyed in the sense of attended; also, probably, in the sense of enjoyed. Read more... |
Osud/Trouble in Tahiti, Opera North - swings and roundabouts in a surprising double-billThursday, 12 October 2017
It was a topsy-turvy evening. Sometimes the things you expect to turn out best disappoint, while in this case the relatively small beer yielded a true "Little Great" of a production and the best singing in Opera North's latest double bill (subject to reshuffling during the rest of the run). Read more... |
Hansel and Gretel, Pop-Up Opera review - salty-sweet production takes wry pleasure in classic fairytaleWednesday, 11 October 2017
They’ve done it in a boat and a barn, a former poorhouse and even a tunnel shaft, and now Pop-Up Opera bring their latest production to a museum. Bethnal Green’s 19th-century Museum of Childhood provides an evocative frame for Engelbert Humperdinck’s Hansel and Gretel, its glass display cases and carefully glossed and labelled toys setting the tone for a production that takes a wry, curatorial approach to its material. Read more... |
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