Royal Opera
Ismene Brown
New Royal Opera director Kasper Holten has announced a 2012-13 season in which big-name favourite operas and world opera stars are threaded through by 19th-century rarities and British operas. ROH music director Sir Antonio Pappano conducts a deliberate series of revivals, including Verdi masterpieces and four complete Ring cycles.Benjamin Britten, Harrison Birtwistle and George Benjamin are the three featured British opera composers - George Benjamin premieres a new opera based on a twisted fairytale written by Martin Crimp, Written on Skin, the production being co-commissioned by no fewer Read more ...
igor.toronyilalic
I find it hard to square what I know about composer Judith Weir with what happened last night. In one corner lies her 30-year output of songs, choral pieces and operas - as engaging and beguiling an oeuvre as that of any living composer's. I think of her waggish song cycle King Harald's Saga or her playful opera A Night at the Chinese Opera. And then I think of the UK premiere of Miss Fortune at the Royal Opera last night - the inertness of the music, the superficiality of the story, the platitudes and, most bafflingly, the racism - and I wonder, what has happened to Judith Weir?If one Read more ...
David Benedict
When blithe Susanna and not the expected Cherubino emerges from hiding before the astonished Countess and enraged Count, the latter instantly back-pedals on the fury he has been heaping upon his seemingly faithless wife. She rounds on him: “Crudele, più quella non sono!” (“Traitor, I am no longer her”) and everything suddenly stops. It's a tiny two-beat rest that usually goes for nothing except the signal for a key change, but here the moment is charged with drama. The Count shoots apologetic looks to cover his shame and the Countess painfully registers her lost trust. That vivid attention to Read more ...
alexandra.coghlan
Francesca Zambello’s production of Don Giovanni may only be 10 years old, but is already showing signs of decrepitude. Even back in its youth in 2002-3, this staging never had much of a spring in its step, but at least there were some fantastic casts to compensate. Bryn Terfel, Anna Netrebko, Simon Keenlyside and Erwin Schrott have all taken their turn here, but even with Gerald Finley returning in the title role there’s little the current incumbents can do to do rescue this aged and confused attempt at a seduction.Set outside what appears to be a particularly ugly municipal swimming pool Read more ...
igor.toronyilalic
Imagine what John Cleese might have done with the tale of a slutty sleepwalker who finds herself staying at a packed provincial guest house? Bellini doesn't even touch on farce, let alone psychological investigation. He instead follows the archetypal bel canto formula: dramatic thinness and vocal display. That La sonnambula doesn't even for one second pretend that it is anything other than a vehicle for showy pyrotechnics (something that was underlined in last night's overly literal Royal Opera House revival) means that one sits through the dramatic torpor with remarkable good Read more ...
alexandra.coghlan
Whether or not we believe Wagner’s retrospective rebranding of the opera as a prototype music-drama, “a complete, unbroken web”, Der Fliegende Holländer reliably makes for a vivid evening’s entertainment. Which makes it all the more strange that this is only the work’s third outing at the Royal Opera in almost 20 years. Animated by the push-pull of contrary rhythms and the slapping, spitting bite of the brass, Wagner’s compact score is almost overburdened by its drama, something understood by Tim Albery’s quietly effective production which sees the work undergo something of a sea change. Read more ...
igor.toronyilalic
That Faust - Gounod's curdled Victorian dessert of an opera, an overwhipped melange of melodrama and misogyny, topped with grand 19th-century dollops of religiosity - achieves a level of profundity that at one stage nearly had me in tears is an absolute miracle. The miracle workers? David McVicar, whose revival production is unlikely to be bettered, and a clutch of leads that you'd normally need a pact with the devil - or at least a very amenable bank manager - to bring together.You don't have to update to pack a punch. That's what McVicar's straight-up French Second Empire setting Read more ...
ash.smyth
A legend on the operatic stage, Sir John Tomlinson (CBE) has sung with all the major British opera companies, made countless recordings, and for sixteen years was a fixture at Bayreuth, where he performed leading roles in each of Wagner's epic works. Throughout his career he has worked regularly with English National Opera and with The Royal Opera, Covent Garden, where in 2008 he created the title role in Harrison Birtwistle's The Minotaur.At his home in Sussex, Sir John talks to theartsdesk - in booming Lancashire tones - about getting into Wagner, the importance of a good beard, Read more ...
David Nice
“I wanna blow you all… a kiss” are our hapless heroine’s first and last words in this opera dealing with Anna Nicole Smith's real-life rise and fall in strip-cartoon, morality-ballad style. But it’s not by any means the shallow, voyeuristic tack-fest you might have expected from, among others, the creator of Jerry Springer: The Opera.That’s Richard Thomas, whose words have their fair share of cheap thrills. But here he’s in harness with a composer, Mark-Anthony Turnage, as well as a director (the ever-amazing Richard Jones) and a conductor (Royal Opera helmsman Antonio Pappano) who know how Read more ...
David Nice
Sweetheart American mezzo Joyce DiDonato stayed firmly behind the proscenium arch for yesterday evening's Royal Opera performance of Massenet's Cendrillon - reviewed by theartsdesk on its opening night - but another Covent Garden regular, former ballerina and non-irritant presenter Deborah Bull, was soon schmoozing the crowds in Trafalgar Square, assembled to watch the fairytale unfold in real time beneath Nelson's Column. It was a big occasion for the long-deceased composer, who having enjoyed short-lived fame went into near eclipse except for Werther and Manon over the next century but last Read more ...
David Nice
After a heap of ashen revivals, it was time for the Royal Opera to take us to the ball in style. Which it does, for the most part. Of course, Massenet's "fairytale after Perrault" isn't Aida, Butterfly, Fidelio, Macbeth orTosca, all of which have deserved better from the house. Though spun out at less than heavenly length and, sometimes, so much per yard, it does have the composer's special brands of discreet charm and gentle humour, especially well served by two world-class voices out of the four leads. And director Laurent Pelly knows how to scintillate in all but one of this small diamond' Read more ...
igor.toronyilalic
Directors of Madama Butterfly are spoilt for choice when it comes to visual imagery. At their disposal are the vast aesthetic resources of at least one, or, if they're clever, two great cultural superpowers. Thus, Moshe Leiser and Patrice Caurier's Ikea-raid from 2003 (quite unbelievably returning to the Royal Opera House last night for a fourth time) isn't so much disappointing as criminally negligent. As the dozen or so identikit Japanese blinds (I'll give them £2.50 for the lot) lower their white screens to the sound of their own electronic humming chorus on Pinkerton's arrival in Nagasaki Read more ...