Opera Reviews
Lucia di Lammermoor, Opera Holland ParkFriday, 08 June 2012
Out-characterising anything on stage last night, London’s weather certainly did its bit to celebrate the start of the Opera Holland Park summer season. No Scottish heath could have been more blasted, no moorland more battered by the wind than we were in the shadow of “Lammermoor Castle” (aka Holland House) for the company’s Lucia di Lammermoor. Read more... |
La Bohème, Glyndebourne Festival OperaThursday, 07 June 2012
It has romantic sweep but is held firm by zealous attention to detail and while it’s hugely expansive of gesture, it’s never generalised. I’m talking about Kirill Karabits’ conducting of La bohème at Glyndebourne. I wish I could say the same for the production. Read more... |
Don Giovanni, Garsington OperaThursday, 07 June 2012
For all but two of its 30 years in business, Garsington Opera has had Mozart in each and every season. He's the nearest this company gets to a resident composer. While everything else at the seasonal operation is in flux, their Mozart is a constant. And as with any long-running relationship, there is a confidence in the coming together of the two of them that usually makes any new Mozart production at Garsington one of the Summer highlights. This year was no exception. Read more... |
L'Olimpiade, Garsington OperaMonday, 04 June 2012
Despite ever-more determined attempts by musicologists to broaden the baroque repertoire of our opera houses, Handel still very much has things his own way. But in this Olympic year a sly challenge has emerged from Antonio Vivaldi’s L’Olimpiade – its topical, Games-themed premise garnering it more performances in a single year than in the past 200 put together. Undeniably apt, unquestionably novel, but is the opera actually any good? Read more... |
La Bohème, Welsh National OperaSaturday, 02 June 2012
Of all Romantic operas, La Bohème is perhaps the one that responds best to what one might, for want of a better phrase, call straight theatrical treatment. It’s pure genre: no hidden meanings, no contemporary significance. “Scenes from the life”, as Murger called his book, now barely readable. Puccini’s opera, likewise, is short on continuity, long on atmosphere, very long on sentiment. Why would anyone bother with it? Read more... |
Salome, Royal Opera HouseFriday, 01 June 2012
According to Oscar Wilde’s Salome (and faithfully preserved in Hedwig Lachmann’s libretto), the mystery of love is greater than the mystery of death. That may be so, but neither comes close to equalling the baffling mystery that is still David McVicar’s production. Read more... |
Caligula, English National OperaSaturday, 26 May 2012
Mass murder. Incest. Rape. Madness. This is quite a lot to be getting on with for a three-hour opera. Too much perhaps. Indeed, German composer Detlev Glanert seems so busy trying to pack in all the Grand Guignol elements that one expects from a portrait of Caligula that he never quite gets around to saying anything interesting about any of it. |
Classical CDs Weekly: Massenet, David Russell, WeinbergSaturday, 26 May 2012
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La Cenerentola, Glyndebourne Festival OperaThursday, 24 May 2012
Rossini's La Cenerentola is not an opera that I'd normally recommend to anyone with even half a brain. It takes the simple if mildly nauseating little tale of Cinderella, pads it out with parental abuse and drawn out cliffhangers, and ends in a pass-the-sick-bag denouement of "Goodness Triumphant". Yet, in an act worthy of the fairy godmother herself, Glyndebourne has transformed the piece into something unmissable. Read more... |
The Cunning Little Vixen, Glyndebourne Festival OperaMonday, 21 May 2012
Glyndebourne nature, it seems, runs along as smoothly as the much discussed new wind turbine on the hill. Within the theatre, though, all is flux: director Melly Still and Vladimir Jurowski, conducting an incandescent London Philharmonic Orchestra, show just how flexible it's possible to be with the viciousness and the vivacity in Janáček's kaleidoscope of birth, copulation, death and a redemption of sorts in celebration of the natural order. Read more... |
Massenet: Werther Rolando Villazón, Sophie Koch, Orchestra of the Royal Opera House/Antonio Pappano (DG)Pages
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