mon 28/04/2025

Opera Reviews

Prom 61 review: Fleming, Royal Stockholm Philharmonic Orchestra, Oramo - heliotropic ecstasies

David Nice

No sunshine without shadows was one possible theme rippling through this diva sandwich of a Prom.

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Edinburgh Festival 2017 review: Verdi's Macbeth - exhilarating and overwhelming

David Kettle

Skeletal horses; piles of newborn babies smothered in a bloody sheet; a whole garden centre of prickly pears. There’s no denying that Italian director Emma Dante’s new production of Verdi’s Macbeth, which Turin’s Teatro Regio brings to the Edinburgh International Festival, is visually dazzling, even at times hallucinatory.

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Prom 31 review: La Damnation de Faust, Gardiner - Berlioz tumbles out in rainbow colours

David Nice

The road to hell is paved with brilliant ideas in Berlioz's idiosyncratic take on the Faust legend.

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Prom 29 review: BBCSO, Bychkov - Musorgsky's Khovanshchina sears in concert

David Nice

"Ura!" as soldiers cry in Russian epic opera's last fling, Prokofiev's War and Peace: supertitles have arrived at the Proms, after much special pleading here and elsewhere.

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La clemenza di Tito, Glyndebourne review - fine musical manoeuvres in the dark

David Nice

So much light in the Glyndebourne production of Brett Dean's Hamlet; so much darkness in Mozart's La clemenza di Tito according to director Claus Guth.

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Le nozze di Figaro, Clonter Opera review - a wedding full of future stars

Robert Beale

Clonter Opera is a finishing school for young opera performers, with its own well appointed theatre and professional administration and artistic direction, based on a farm in Cheshire near Jodrell Bank. It’s seen a succession of promising young post-conservatoire singers come to perform in fully staged productions for many years, and is also (from an audience point of view) the only countryside summer opera venue of any substance in the north of England.

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Prom 9 review: Fidelio, BBCPO, Mena - classy prison drama rarely blazes

David Nice

What a pity Beethoven never composed an appendage to Fidelio called The Sorrows of Young Marzelline. One crucial moment apart, the music he gives to his second soprano in his only opera isn't his best, but Louise Alder so lived the role of the gaoler's daughter in love with a woman disguised as a man that everything else felt rather less intense. It's only fair to say that there were...

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Jette Parker Young Artists Summer Performance, Royal Opera review - vocal promise, poor stagecraft

David Nice

They get to work with the best music and language coaches in the business. They make their mark in small parts throughout the Royal Opera season and showcase their art more prominently at the end of it, proving to the world that there are major talents among them (four outstanding ones, I reckon, on this showing).

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Katya Kabanova, Opera Holland Park review - clarity and pace in Janáček's Volga tragedy

Gavin Dixon

Katya Kabanova is an ideal fit for Opera Holland Park’s verismo-focussed programming. It’s Czech, of course, but the dramatic style is very close to the Italian opera of the day, the story all gritty realism, the music punctuated with intense emotive episodes. This staging, a revival of Olivia Fuchs’s 2009 production, does the work full justice, a straightforward account that doesn’t overcomplicate the clear-cut narrative and morality.

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El-Khoury, Spyres, Hallé, Rizzi, Cadogan Hall review - bel canto lives again

David Nice

Unless you're an undiscriminating fan of bel canto, the lesser Italian and French operas of the 1830s and '40s - that's to say, not Verdi's Nabucco and Macbeth or Berlioz's Benvenuto Cellini - need to be approached with caution. Once you've lowered expectations to a simpler level of compositional style, you then have to hope for stylists of the first order to make it work. That doesn't happen too often these days, but the inspirational company Opera Rara,...

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