Opera Reviews
Down by the Greenwood Side, Harvey's Depot, LewesTuesday, 13 May 2014
The question about Harrison Birtwistle’s Down by the Greenwood Side is: what is it? Designated by the composer as a “dramatic pastoral”, which is not very enlightening, it is not really an opera, nor a play with music, nor a piece of performance art, but somehow a winning combination of all three. Read more... |
Schwanewilms, Connolly, Crowe, LSO, Elder, BarbicanFriday, 09 May 2014
Mozart usually makes a fine concert bedfellow for his most devoted admirer among later composers, Richard Strauss. Read more... |
Thebans, English National OperaSunday, 04 May 2014
It’s been a bloody week on the London stage. First Titus Andronicus maims and mutilates at the Globe, and now at English National Opera Frank McGuinness and Julian Anderson bring us a distillation of Sophocles’ three Theban plays, complete with eye-gouging and assorted hangings. But while Lucy Bailey found eloquent meaning in Shakespeare’s brutality, could Anderson do the same in this, his first opera? Read more... |
La Calisto, Hampstead Garden OperaMonday, 28 April 2014
Baroque operas are like buses. You wait years for some Cavalli to come along, and then three of his operas arrive almost at once. It all started with English Touring Opera’s Jason last October – a witty and endlessly shape-shifting work – followed by the Royal Opera’s glossy L’Ormindo at the Globe’s Sam Wanamaker Playhouse last month. Now, undeterred by larger rivals, Hampstead Garden Opera continue the trend with La Calisto. Read more... |
Khovanshchina, Birmingham Opera CompanyWednesday, 23 April 2014
Has anyone ever sat through Musorgsky’s last, not quite finished, opera about the struggle for power in Moscow at the time of Peter the Great’s accession in the 1690s, and come away with the slightest idea of what it’s all about? If Khovanshchina had depended for its impact on any kind of Verdian clarity or dramaturgical shape, it would long ago have sunk without trace. Read more... |
La Traviata, Royal OperaSunday, 20 April 2014
The German soprano Diana Damrau has had the role of Violetta Valéry in La Traviata in her sights for a very long time. As she has explained in interviews, seeing the Zeffirelli film of the opera, with Teresa Stratas in the title role, as a 12-year old was a decisive moment in making her want to become a singer. That was 30 years ago. Read more... |
Powder Her Face, English National Opera, Ambika P3Thursday, 03 April 2014
The opening gyrations of Thomas Adès’s bluesy, schmoozy overture to Powder Her Face beckon you into a world of cheap sensation and excess. Accordion, saxophones and sizzle cymbal add their indecent, after-hours suggestions, and you have a microcosm in moments. Almost 20 years on from its premiere, Adès’s opera about the scandalous “Dirty Duchess” still has all the moves. Read more... |
Prince Igor, Novaya Opera, London ColiseumWednesday, 02 April 2014
Had this Moscow production any serious ideas in its head until its suddenly effective epilogue, much might have been pertinently said about an opera in which an imperialistic campaign ends in disaster, and where the Polovtsian “enemy” shows far more signs of a civilized life and wartime courtesy than the corrupt, crumbling court at home. Read more... |
L’Ormindo, Royal Opera, Sam Wanamaker PlayhouseWednesday, 26 March 2014
The Sam Wanamaker Playhouse, the new indoor Jacobean theatre at The Globe, is an absolute jewel of painstaking historical research and craftsmanship. It is small, seating around 350, and with its thrust stage lit by around 100 candles (with electric light only on the musicians’ gallery in this performance), it is a challenging space to put on an opera, but also a uniquely atmospheric one. Read more... |
Die Frau ohne Schatten, Royal OperaSaturday, 15 March 2014
The big message of The Woman Without a Shadow, brushing aside the narrower, moral majority preaching that you’re incomplete without children, seems clear: fulfillment can’t be bought at the cost of another’s suffering. Yet the path towards that realization in this "massive and artificial fairy-tale", as an increasingly alienated Richard Strauss called it, is strewn with magnificent thorns in both his complex, layered music and Hugo von Hofmannsthal’s elaborate symbolic libretto. Read more... |
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