Opera
Help to give theartsdesk a future!Sunday, 01 December 2024
It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.It followed some hectic and intensive months when a disparate and eclectic team of arts and culture writers went ahead with an ambitious plan – to... Read more... |
The Elixir of Love, English National Opera review - a tale of two halvesSaturday, 16 November 2024
Sparkling Italian comic opera might have been just the tonic at this time. Trouble is, the bar was set so high recently by Wexford Festival Opera’s Le convenienze e inconvenienze teatrali, aka Viva la Mamma, that this better known, less malleable if... Read more... |
The Sound Voice Project, Linbury Theatre review - an art installation that has strayed into an opera houseSaturday, 16 November 2024
What does it mean to have a voice? And what does it mean to lose it? Those are the questions the award-winning Sound Voice Project has explored – through research, collaboration and live performance – since its beginnings in 2016. The latest... Read more... |
The Tales of Hoffmann, Royal Opera review - three-headed monster feels baggier than everFriday, 08 November 2024
Having all but sunk one seemingly unassailable opéra comique, Bizet’s Carmen, director Damiano Michieletto goes some way to helping out another with so many problems. Not far enough, alas, but the chosen edition, with its reams of recitative (mostly... Read more... |
Rigoletto, English National Opera review - another hit for Miller's MobThursday, 31 October 2024
How we used to mock those stuck-in-the-mud opera houses that wheeled out the same moth-eaten production of some box-office favourite decade after decade. Well, Jonathan Miller’s 1950s New York mafiosi version of Verdi’s Rigoletto first arrived on... Read more... |
theartsdesk at Wexford Festival Opera - let's make three operasWednesday, 30 October 2024
Name three operas framing dramas within, and you’d probably come up with Leoncavallo’s Pagliacci, Strauss’s Ariadne auf Naxos and Prokofiev’s The Love for Three Oranges. You might be harder pressed to come up with three more, but Wexford Festival... Read more... |
Albert Herring, Scottish Opera review - fun, frivolity, and fine music-makingFriday, 25 October 2024
Having premiered at the Lammermuir Festival earlier this year, Daisy Evans’s new production of Britten’s Albert Herring is a gently funny and sweetly nostalgic telling of what’s essentially a coming of age comedy. In fact, the 80s costumes and the... Read more... |
Le nozze di Figaro, The Mozartists, Page, Cadogan Hall review - cogency, intelligence and reverenceWednesday, 23 October 2024
Ten years ago, Ian Page launched his and the Mozartists’ (then Classical Opera’s) remarkable endeavour to play music by WA Mozart 250 years after it was written, starting with a programme of material from 1765 by eight-year-old Mozart, and his... Read more... |
A Midsummer Night’s Dream, Opera North review - one of the best and funniestMonday, 14 October 2024
Martin Duncan’s 2008 production of A Midsummer Night’s Dream remains one of the best and funniest things Opera North has ever done – back now again (it was also seen in 2013-14), in the company’s autumn season of revivals.The idea, hinted at in the... Read more... |
The Turn of the Screw, English National Opera review - Jamesian ambiguities chillingly preservedSaturday, 12 October 2024
At first, you wonder if the peculiar voice of Henry James’s maybe unreliable narrator can be preserved in this production. Surely the outcome is known if we first meet the Governess in an insane asylum bed? Yet whether she was mad or maddened during... Read more... |
Trouble in Tahiti/A Quiet Place, Linbury Theatre review - top cast plays unhappy familiesSaturday, 12 October 2024
Most of us have been there: an impasse in a marriage, a bereavement in a dysfunctional family. Leonard Bernstein certainly had when he composed Trouble in Tahiti in 1952, basing the unhappy couple on his own parents and even the incipient problems... Read more... |
Blond Eckbert, English Touring Opera review - dark deeds afoot in the woodsMonday, 07 October 2024
Judith Weir’s Blond Eckbert, presented by English Touring Opera at the Hackney Empire, at the beginning of its tour (paired with The Snowmaiden, reviewed on theartsdesk last week) has all the biggest virtues of her work in spades: it is narratively... Read more... |
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