sat 28/05/2022

Glyndebourne

Le nozze di Figaro, Glyndebourne review - fabulous singing and a classy production

After two years of Covid-affected performances – even though there was a full season last year – Glyndebourne's annual festival is finally back in full glory. Following the big blaze of Saturday's The Wreckers, Sunday welcomed back Michael Grandage'...

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The Wreckers, Glyndebourne review - no masterpiece, but vividly sung and played

Interesting for the history of music, but not for music? Passing acquaintance with Ethel Smyth’s The Wreckers, a grand opera by a woman at a time (the early 1900s) when circumstances made such a thing near-impossible, had suggested so. Then along...

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Don Pasquale, Glyndebourne Tour review - winning comeback for a sturdy veteran

If it ain’t broke… on tour and in the Glyndebourne summer festival, Mariame Clément's production of Don Pasquale has gratified audiences for a decade now. It surely will again in Paul Higgins's spirited revival. The show returns to the Sussex house...

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First Person: director Frederic Wake-Walker on Glyndebourne's new 'Fidelio'

2016Dear Diary, I’ve just had a meeting with Glyndebourne about directing a new production of Fidelio. I realise it’s one of the hardest operas in the repertoire to direct but I’m so swept up in Beethoven’s vision, the power of the music and the...

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Tristan und Isolde, Glyndebourne, BBC Proms review - endless love, perfect pace

“Now I’ve conducted Tristan for the first time,” the 27-year-old Richard Strauss wrote from Weimar to Wagner’s widow Cosima in 1892, “and it was the most wonderful day of my life”. Robin Ticciati, over a decade older but still young in terms of his...

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Luisa Miller, Glyndebourne review – small-scale tragedy, big emotions

“Time-travelling” is how Enrique Mazzola, the superb first conductor of Glyndebourne’s last new production of the main season, described the slow-burn trajectory of Verdi’s semi-masterpiece Luisa Miller in his First Person here on theartsdesk....

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First Person: conductor Enrique Mazzola on Verdi's time-travelling 'Luisa Miller'

It is difficult to know why some operas succeed while others remain unknown. The reasons can be emotional or historical, or it might be as simple as a poor cast who couldn’t quite launch the opera into the stars. In the case of Luisa Miller, we have...

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Matthews, LPO, Ticciati, Glyndebourne review - out of this world

Why travel to Glyndebourne for a concert? Well, for a start, none of us has heard a Mahler symphony live in full orchestral garb for at least 15 months, and though the Fourth is smaller-scale than some, its innocent beginnings belie the cosmic...

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Il turco in Italia, Glyndebourne review – who knew 1950s neorealism could be such fun?

The new Glyndebourne production of Rossini's Il turco in Italia has a truly winning smile on its face and a spring and a dance in its musical step. It is brimful of fun and good ideas, conveying the sense that a lot of joy has been had in its making...

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Káťa Kabanová, Glyndebourne review - a misalliance of metatheatre and the mundane

Angels and birds throng the inner life of tragic heroine Katya Kabanova, very much centre-stage in Nikolay Ostrovsky’s The Storm and achingly so in Janáček’s musical portrait. Director Damiano Michieletto takes the feathers, adds cages and...

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The Magic Flute, Glyndebourne review - deeply moving light in darkness

How does Mozart do it? His music can provoke deep emotions even in the unlikeliest operatic situations, if well done, and present circumstances stirred them up all the more on Sunday afternoon. Those flirtatious ladies flouncing around the prone...

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Classical music/Opera direct to home: 3 - Two Jenůfas

We're learning fast what works and what doesn't with online arts offerings in a time of coronavirus. A distinguished young pianist I know rightly pointed out to me yesterday that however good the artists sharing their talents with us from their...

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