Opera
Miranda Heggie
A joint venture between Dunedin Consort, Mahogany Opera and intersectional feminist opera company Hera, Out of Her Mouth is a semi-staged version of three short baroque cantatas. Written by French composer Élisabeth Jacquet de La Guerre, each is based on a different woman from the Old Testament.With an updated English libretto from Hera’s co-founder Toria Banks and a quirky staging from director Matthilde Lopez, these timeless tales of women’s experiences are not so much given a fresh relevance as revealed to contain age-old truths which are always pertinent, whether they be Read more ...
stephen.walsh
If you read the synopsis of Candide - which I strongly advise if you plan a visit to this new WNO production - you may well wonder how it will be possible to get through so much in so short a time. Voltaire’s novella is itself fairly short, but opera takes more time and songs are songs, not action.It can’t be said that everything in James Bonas’s staging of Leonard Bernstein’s operetta is ideally clear; but somehow it manages to chart the eponymous hero’s progress from his Westphalian birthplace, via Lisbon at the time of the 1755 earthquake, Spain of the Inquisition, Montevideo, Eldorado, Read more ...
Sebastian Scotney
Grange Park Opera has been setting a high standard in French opera ever since the company's first proper season in 1999. This Werther is the company's third by Jules Massenet. The first two were rarities, pioneering efforts: a fascinating tussle between lubriciousness and piety in Thais in 2006, and then a poignant and deeply felt portrayal of old age in a splendid Don Quichotte in 2014.Unlike these two rarities. Werther – although initially rejected by the director of the Opera Comique in Paris as too sad - has claimed its rightful place in mainstream operatic repertoire. It is powerful Read more ...
David Nice
When tears well up during stretches of Strauss and Hofmannsthal’s curious hybrid which you never expected to move you, something special's going on. The magic happened last night in an evening which I didn't anticipate equalling “the Carmelites experience” at Glyndebourne. But, in its very different way, it did, in terms of casting, conducting and a production (by Bruno Ravella) that wasn’t too interventionist but had some powerful ideas of its own.Any country-house production of this “let’s make an opera” charmer would seem to promise pure pleasure – what Brecht called “culinary opera”. But Read more ...
alexandra.coghlan
Schubert gave us a winter’s journey for the 19th century: a wandering lover brooding, remembering, fantasising, maybe even dying to the chilly accompanying churn of the hurdy-gurdy man. In Everest, composer Joby Talbot and librettist Gene Scheer recreate it for the 21st.A journey of the mind becomes as much one of the body. Love remains, along with memories and fantasies, but now the human beloved must share their place with something else: the mountain. Obsessive, deceptive, all-consuming desire takes vivid form in this powerful operatic debut.Premiered in Dallas in 2015, Everest – inspired Read more ...
David Nice
The trouble with Trovatore, Verdi’s sometimes barrel-organish, slightly middle-aged troubadour, isn’t so much the silly shocker of a plot, triggered by a gypsy so crazed with vengeance that she throws her own baby on a bonfire by mistake, as the choppy dramatic line, so hard to thread. Under the circumstance, Adele Thomas’s medieval-hell production could have been a lot worse, and the vocal quality is there throughout under Antonio Pappano’s watchful guidance.Two of the cast are officially new to the run, though soprano Rachel Willis-Sørensen had already replaced Marina Rebeka in some Read more ...
alexandra.coghlan
Benoit Jacquot’s handsome period production of Werther has been quietly putting in the miles for the Royal Opera. Since its premiere in 2004, this unexceptionable staging – “this wall, this fountain, this cool shade” all present and laboriously correct – has supplied a London star vehicle for everyone from Joyce DiDonato and Isabel Leonard to Juan Diego Florez, Rollando Villazon and Vittorio Grigolo. Now it’s the turn of Jonas Kaufmann – or, at least, it was supposed to be.No announcement was made, but it was evident from his opening “Je ne sais si je veille” – almost lost under Antonio Read more ...
stephen.walsh
Frederick Delius composed an opera called A Village Romeo and Juliet; Donizetti composed a sort of village Tristan and Isolde, but called it L’elisir d’amore – The Love Potion. The hero, Nemorino, inspired by the Tristan tale, buys an elixir off a passing quack, in the hope it will make the beautiful, capricious Adina fall for him.But, arguably like Wagner’s, the potion is fake (red wine, in this case, probably throat lotion in Wagner’s), and Nemorino gets his girl because he unknowingly inherits a fortune, the village girls fawn over him, and Adina becomes jealous.How much of this agreeable Read more ...
Boyd Tonkin
Like any decent cake (and we saw plenty on the Holland Park stage), a tasty production of Hansel and Gretel needs a careful balance of flavours. Sweet and sharp; light and dark; fantasy and realism; fright and delight. Directed by John Wilkie, Opera Holland Park’s version of Engelbert Humperdinck’s well-preserved “fairy-tale opera” from 1893 skilfully mixes its ingredients into a sort of Great Grimm Bake-Off. It hints at horrors but never really threatens to turn sour. Opera-goers may well sample more challenging, or sinister, readings of Humperdinck’s fruity mix of folkloric pantomime and Read more ...
David Nice
Harrowing and holiness alternate in Poulenc’s unique masterpiece, nominally an opera about nuns during the French revolution, at a deeper level a music-drama about the greatest disturbances in the human condition. Glyndebourne’s cast, conductor and orchestra handle the variety wth total mastery. If Barrie Kosky’s production lets horror overwhelm us, that’s justified too. If you’re not a heap at the end of it, that’s your problem.Kosky’s classic Handel Saul at Glyndebourne descended from flowery opulence to dust and ashes. His Dialogues starts with explosive dread against Katrin Lea Tag’s Read more ...
David Nice
Sullivan’s score for his eighth collaboration with Gilbert is vintage work, mostly equal to the splendid sentinels flanking it, Iolanthe and The Mikado. On Wednesday night master animator John Wilson did its buoyancy and occasional pathos full justice. But what of Gilbert’s words? “A woman’s [sic] college! Maddest folly going!” doesn’t promise an operetta for our times.In fact it’s more complicated than that. In the battle of the sexes, men are lunks, bullies or silly young things; the women come off rather better, but their determination to “abjure tyrannic man” walled up in Princess Ida’s Read more ...
alexandra.coghlan
“I am a poor student,” the Duke tells a smitten Gilda, in music that can barely keep a straight face, so plush is its melody, so oozing with confidence and privilege.It’s a short step from there to Cecilia Stinton’s new Rigoletto for Opera Holland Park, which takes him – almost – at his word, transplanting Verdi’s rapey young aristo from 16th-century Mantua to an Oxford college between the wars: a Bullingdon Club hooray to Rigoletto’s downtrodden college porter with a chest full of medals and a gammy leg.It's a playful idea, Rigoletto as origin-myth for, ahem, a certain type of public Read more ...