tue 20/11/2018

Verdi

Simon Boccanegra, Royal Opera review - a timely revival of Verdi's political music-drama

Political machinations and backroom power-brokering, leadership battles and unscrupulous rivals – if ever there was an opera for this week it’s Simon Boccanegra. Premiered in 1857 but only coming into its own after substantial revisions in 1881,...

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Car, Australian Chamber Orchestra, Tognetti, Milton Court review - a rattlebag of happy collaborations

Presenting the last Mozart symphonies as a three-act opera for orchestra, as Richard Tognetti and his febrile fellow Australians did on Monday, was always going to be a supreme challenge. It worked, as Boyd Tonkin reported here. Since then, the...

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Verdi's Requiem, Royal Opera, Pappano review - all that heaven allows

Here it comes - get a grip. The tears have started flowing in the trio "Quid sum miser" and 12 minutes later, as the tenor embarks on his "Ingemisco" solo, you have to stop the shakes turning into noisy sobbing. The composer then lets you off the...

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Montserrat Caballé (1933-2018): from Bellini to 'Barcelona'

Her special claim to fame was the most luminous pianissimo in the business, but that often went hand in velvet glove with fabulous breath control and a peerless sense of bel canto line. To know Maria de Montserrat Viviana Concepción Caballé i Folch...

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theartsdesk at the Ravenna Festival - Italians, Ukrainians and an American promote peace

Everything is political in the world's current turbulent freefall. The aim of Riccardo Muti's "Roads of Friendship" series, taking the young players of his Luigi Cherubini Youth Orchestra to cities from Sarajevo in 1997 to Moscow in 2000 and Tehran...

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Alzira / The Daughter of the Regiment, Buxton Festival review – thundering good tunes

Alzira is Verdi’s shortest opera and his least performed, and you have to ask why. Buxton International Festival has done his legacy a service by bringing it to the stage this year, and it completes the trilogy of early Verdi operas performed there...

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La Traviata, Longborough Festival review - muddled director, vocal mixed bag

One wearies of quarrelling with opera directors’ concepts. But what’s the alternative? To ignore or acquiesce in crude, approximate reimaginings that, like Daisy Evans's new La Traviata at Longborough, stuff a work any old how into some snappy,...

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Falstaff, Garsington Opera review - Sir John under pressure

All those pranks, set-ups, fake letters and disguises, they just keep coming thick and fast in Verdi’s Falstaff. The score has irresistible energy and momentum. The composer made sure in his last opera that when the fantasies, schemes and hopes of...

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La traviata, English National Opera review - into a vortex of ineptitude

You don't have to be a good director to manage the artistic side of an opera house. Daniel Kramer arrived at ENO and boosted morale at a time when company relations with then-CEO Cressida Pollock had hit rock bottom, and his repertoire choices for...

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Un ballo in maschera, Opera North review - decent, no more

You’d expect a degree of mischief and bafflement in an opera about mistaken identity, closing with a scene set at a masked ball. But Tim Albery’s new Opera North Un ballo in maschera is confusing for the wrong reasons, its shortcomings all the more...

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La forza del destino, Welsh National Opera review - rambling drama, fine music

David Pountney’s tenure at WNO has been an almost unqualified success, despite some eccentricities of repertoire and a certain obstinacy in the matter of new commissions. His own productions have included at least three of unforgettable quality. He...

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Having a Verdi ball: conductor Richard Farnes on Opera North's upcoming production

Commentators have, over the years, variously described Un ballo in maschera (A Masked Ball) as all things to all people: Verdi’s Tristan und Isolde, Verdi’s masterpiece, Verdi’s Don Giovanni, a pure love poem, and much more. It seems to me to be one...

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