Opera Reviews
Monteverdi Choir, London Symphony Orchestra, Gardiner, Barbican HallFriday, 26 April 2013
Backed up by reasonably adventurous orchestral programming, lucky conductors can forge a strong Stravinsky evening by picking and mixing from his five ancient Greek rituals. Sir John Eliot Gardiner, unintentionally homaging the late Sir Colin Davis who at least in earlier days would have jumped to such a pairing, chose to celebrate his 70th birthday with the extremes of white balletic lyric poem Apollon musagète and hard-hitting blackest tragedy Oedipus Rex. Read more... |
Juan Diego Flórez and friends, Barbican HallMonday, 22 April 2013
It takes a certain kind of artist to book American mezzo-extraordinaire Joyce DiDonato as a supporting act. It’s a risk. Even if you happen to be Juan Diego Flórez. But it’s one that actually paid off on the first night of Flórez’s three-concert residency at the Barbican. Read more... |
Sunken Garden, English National Opera, Barbican TheatreSaturday, 13 April 2013
Sunken Garden is described officially as a “film opera”. Two words. Emphatically unhyphenated. No attempt made to neologise or fashion some third-way genre terminology. Read more... |
Orpheus, Classical Opera Company, Page, London Handel FestivalSaturday, 23 March 2013
A toast to London’s Handel Festival, now celebrating its 36th year, and to Ian Page’s adventurous Classical Opera Company, for pulling Telemann out of the drawer and placing him in the forefront of this year’s celebrations at St. George’s, Hanover Square. Read more... |
Die Feen, Chelsea Opera Group, Queen Elizabeth HallMonday, 18 March 2013
Like Prokofiev’s The Love for Three Oranges and Puccini’s Turandot, Wagner’s first opera – The Fairies in English – has its roots in a “theatrical fable” by the 18th century Venetian playwright Carlo Gozzi. There the resemblances end. Only Prokofiev follows Gozzi’s playful mix of commedia dell’arte and fairy-tale characters. Read more... |
The Gospel According to the Other Mary, Los Angeles Philharmonic, Dudamel, Barbican HallSunday, 17 March 2013
“I do not believe in miracles,” scoffs Herodias in Oscar Wilde’s - and Richard Strauss’s - Salome. “I have seen too many.” I know how she feels. Read more... |
Imago, Glyndebourne OperaMonday, 11 March 2013
Imago, Glyndebourne’s latest Community Opera exercise, putting the cap on 25 years of pioneering educational outreach, is one of those operas where you need to read the programme synopsis first. Read more... |
Simon Boccanegra, English Touring OperaSaturday, 09 March 2013
Simon Boccanegra has, as English Touring Opera’s director James Conway points out, never quite made the running outside Italy amid Verdi’s output. It went through three to five different versions in a short space of time. Despite the Romeo and Juliet era setting (14th-century Genoa battling it out with Venice) there are naivetes in Piave and Boito’s plot which, despite the frenetic story’s many merits, generate more than the usual operatic implausibilities. Read more... |
Written on Skin, Royal OperaSaturday, 09 March 2013
It’s hard to put one’s finger on why George Benjamin’s new opera doesn’t work. It comes to Covent Garden with a wind in its sails. Its outings in Europe have all received high praise. It boasts a classy cast, Martin Crimp as librettist and Benjamin at the helm of the orchestra. The story is a captivatingly horrific medieval morality tale that often goes by the title of "the Eaten Heart story". And there’s little wrong with Katie Mitchell’s production. Read more... |
Phaëton, Les Talens Lyriques, Rousset, Barbican HallSaturday, 09 March 2013
Excess of light and heat sends sun-god Apollo’s son Phaeton tumbling from his father’s chariot. The light was iridescent and the temperature well conditioned as peerless Christophe Rousset led his period-instrument Les Talens Lyriques and a variable group of singers through a concert performance of Lully’s 1684 tragédie-lyrique, a specially pertinent, heliotropic operatic homage to le roi soleil Louis XIV. Read more... |
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