Opera Reviews

Prom 60: Billy Budd, Glyndebourne Festival Opera, Davis

David Nice Wednesday, 28 August 2013

You may well ask whether theartsdesk hasn’t already exhausted all there is to say about Glyndebourne’s most celebrated Britten production of recent years. I gave it a more cautious welcome than most on its first airing, troubled a little by the literalism of Michael Grandage’s production and the defects in all three principal roles.

Comment

Prom 57: Parsifal, Hallé, Elder

David Nice Monday, 26 August 2013

So for one last time this season the impossible colosseum of Albertopolis became the Wagnerian holiest of holies – to be precise, the Cathedral of the Holy Grail - and once again I fell in love with the beast transfigured.

Comment

Paul Bunyan, Welsh National Youth Opera, Cardiff

stephen Walsh Saturday, 24 August 2013

Reading through WH Auden’s libretto for Britten’s first stage work – the so-called operetta Paul Bunyan – it’s sometimes hard to decide whether the intention was to participate in the great American dream or to make fun of it. In 1941 both artists were living in the United States and writing for Americans, who famously didn’t take to the work’s blend of folksy condescension and sententious eloquence. The combination is still faintly queasy.

Comment

Prom 45: The Midsummer Marriage, BBC Symphony Orchestra, Davis

Geoff Brown Saturday, 17 August 2013

Jeremy Paxman’s beard may have been a wonder and a talking point for five days, but Michael Tippett’s opera The Midsummer Marriage beats it by almost 60 years. Ecstatic, visionary, energetic music, yes indeed. But, oh, the composer’s libretto! The Magic Flute, T. S.

Comment

Fidelio, Opéra de Lyon, Festival Theatre, Edinburgh

Roderic Dunnett Tuesday, 13 August 2013

When first seen at Serge Dorny’s Opéra de Lyon in March-April this year, American Gary Hill’s unusual vision of Beethoven’s Fidelio could be recognised immediately as concept opera: drama where a director’s “idea” largely takes over the story. Hill directs (up to a point), and conceived the mesmerising projections that dominated the stage (realised, with jaw-dropping skill, by his technical assistant).

Billy Budd, Glyndebourne Festival Opera

alexandra Coghlan Sunday, 11 August 2013

It’s not a crowd-pleaser like Albert Herring, nor wittily fanciful like A Midsummer Night’s Dream or macabre like The Turn of the Screw and certainly not the classic that Peter Grimes has become, and until three years ago Glyndebourne had never even staged Britten’s Billy Budd. But Michael Grandage’s 2010 production was a sea-changer.

Prom 29: Tannhäuser, BBC Scottish Symphony Orchestra, Runnicles

David Nice Monday, 05 August 2013

On the one occasion I went to Bayreuth, I made the mistake of seeing The Flying Dutchman and Lohengrin after the best of Ring cycles. At the Proms we’ve had a week of serious Wagnerian withdrawal symptoms, so Tannhäuser was never going to feel like too much or too little of a good thing.

Prom 20: Götterdämmerung, Staatskapelle Berlin, Barenboim

Edward Seckerson Monday, 29 July 2013

And so Wotan’s ravens flew home and at the twilight’s last gleaming the immortals were consumed by fire and water. All was finally and irrevocably redeemed by the power of love, and the most beautiful of all the leitmotifs in Wagner’s Ring rolled out across the Albert Hall like a benediction. It was a defining moment in Proms history, no doubt, and was greeted with a few moments of perfect - and I mean perfect - silence.

Prom 19: Tristan und Isolde, BBC Symphony Orchestra, Bychkov

Sebastian Scotney Sunday, 28 July 2013

Such has been the justifiable flow of superlatives this week about the Berlin Staatskapelle's Ring conducted by Barenboim, the centrepiece of the BBC Proms' Wagner bicentenary celebration, it would have been easy to forget that the 2013 Proms season contains not just those four, but seven complete Wagner operas.