Handel
jonathan.wikeley
There are so many ways a dramatic production of Messiah can go wrong it is almost unbearable to think about it. Certainly, there was a palpable buzz of nervousness in the Coliseum about last night’s audience as they took their seats. Did English National Opera really think it could pull it off? Could it avoid the pitfalls into triteness that surely lurk at every corner? How would the chorus manage it? And please God, let it be better than Glyndebourne’s 2007 St Matthew Passion.How do you go about staging Messiah anyway? It hardly provides a rip-roaring narrative stream, and there’s a danger Read more ...
edward.seckerson
With its powerfully emotive stagings of Bach's St John Passion and Verdi's Requiem English National Opera has built something of a reputation for bringing sacred masterworks to the secular stage. Award-winning director Deborah Warner, conductor and Handel specialist Lawrence Cummings, and ENO's indefatigable chorus master Martin Merry tell Edward Seckerson about the challenges of making a credible stage spectacle of Handel's Messiah, which opens on Friday 27 November. "It's about us all," says Warner, when asked how inclusive this most popular of all sacred oratorios can be. And she promises Read more ...
jonathan.wikeley
Are you allowed to like both Andreas Scholl and David Daniels? I've always felt slightly guilty over this one - it feels somewhat indecent to listen ruthlessly to Scholl for some pieces, and drop him like a spurned lover for Daniels when the mood takes you. Tonight, though, was definitely a Daniels night: bits and bobs from Handel's operas and oratorios, and some modern takes on the great man. It was cabaret-goes-slightly-baroque, with Harry Christophers leading a sparkling Academy of St Martin in the Fields with plenty of zing, just a whiff of campery, and the odd cheeky smile from composer Read more ...