Opera
alexandra.coghlan
“Do you think they’ve got enough plot to get us through to the end?” I overheard a lady anxiously asking her husband during the interval. It was a fair question. Donizetti’s The Wild Man of the West Indies was written within a year of L’elisir d’amore, and the two operas share many things, but not that spark of genius that can transform a pantomime into a drama. Rarely has so little happened in an opera, and with even less effect.Which makes it all the more baffling that the imaginative and usually so reliable English Touring Opera would tackle it. General director James Conway is quoted in Read more ...
Peter Quantrill
"No heckling. No smoking. No making love," read the nifty video projections announcing the rise of the new Mahagonny at the Royal Opera House. Why so coy? Could they not give us a bang for our buck, or even a slow comfortable screw?But that would be indulgent, too much like fun, or even the "culinary" entertainment of conventional opera disparaged by Bertolt Brecht when he later distanced himself from the performing version of a libretto he had part-written, part-appropriated or rewritten from contemporary sources with the help of an assistant. Director John Fulljames and his team have aimed Read more ...
David Nice
Having been bowled over by the total work of art English National Opera made of Wagner’s The Mastersingers of Nuremberg on its first night, I bought tickets immediately afterwards for the final performance. So I’m off tonight to catch the farewell of what has been an unqualified triumph for the company. Yet only last Thursday an unsolicited email arrived from Amazon Local – there’s no stopping them, it seems – offering tickets for this very show at 40 per cent discount.Now, it’s bizarre that, given the high levels of Wagnerolatry in London, any of the composer's operas doesn’t sell out before Read more ...
alexandra.coghlan
The Southbank Centre’s Women of the World Festival may have been the largest cultural event marking International Women’s Day 2015, but it wasn’t the most ambitious. Over at the Barbican two women were responsible for a multimedia opera staging whose spectacle, level of detail and sheer force of personnel involved was staggering.Premiered in 2007, Unsuk Chin’s Alice in Wonderland has already had more outings than most contemporary operas. You could attribute this to the endless appeal of Lewis Carroll’s story, but it also has an awful lot to do with Chin’s witty, sonically imaginative and Read more ...
David Nice
How can a feisty village dame duetting “lackaday”s with the mounted head of a long-lost, nay, long-dead love be so deuced affecting? Ascribe it partly to the carefully-applied sentiment of Gilbert and Sullivan, slipping in a very singular 11-o’clock number after so much Gothick spoofery, partly to two consummate and subtle singing actors, Amy J Payne and John Savournin, in a production of spare ingenuity by the latter, true Renaissance/Victorian man equally at home in opera and operetta.Savournin also makes a virtue out of the necessity of a nine-strong cast guided by a brilliant pianist – Read more ...
David Nice
Now that opera houses mostly lack either the will or the funds to stage the more fantastical/exotic pageants among 19th century operas – the Royal Opera production of Meyerbeer’s mostly third-rate Robert le Diable was an unhappy exception – it’s left to valiant concert-performance companies like Chelsea Opera Group to try and trail clouds of kitschy glory. Which, thanks to the usual astute casting of world-class voices for the solo roles and a remarkable semi-professional orchestra under Royal Opera chorus master Renato Balsadonna, they did last night.A confession first. While received wisdom Read more ...
David Nice
Mozart’s The Magic Flute is one of those operas, like Verdi’s Il trovatore and all the mature Wagner masterpieces, which need a line-up of equally fine singers but rarely get it in the compromised world of the opera house. With Christiane Karg and Pavol Breslik as the trial-enduring lovers joining three performances in the latest revival of David McVicar’s production, and only Anna Siminska’s fifth-element Queen of the Night unknown to me, last night's team looked good in principle. And so it was in practice, if sometimes compromised by occasionally erratic staging, conducting and chorus work Read more ...
Kimon Daltas
When Purcell died at just 36, he left The Indian Queen unfinished, which only adds to the usual problems of staging his "semi-operas" – plays with musical interludes which don’t really accord with modern operatic tastes, despite the ravishing beauty of the music itself.Rather than tinkering around the edges, Peter Sellars – the director best known for his long-standing partnership with John Adams – has created a new piece entirely. Its narrated plot, borrowed from Nicaraguan novelist Rosario Aguilar's The Lost Chronicles of Terra Firma, is set around a particularly savage episode in the Read more ...
stephen.walsh
After 16 years one might expect a revival of a repertory opera like Hansel and Gretel to come up with a dusty look and frayed edges. But Benjamin Davis has done a brilliant job pumping the life back into Richard Jones’s memorable but intricate 1998 staging of Humperdinck’s pocket Wagnerian masterpiece.For Jones, Hansel was less about fairies and witches, more about food; and in Davis’s revival they seem to be filling their faces, or imagining they are, even more of the time, from Hansel’s serial sampling of the cream at the start to the children’s serving up of the roasted witch at the end. Read more ...
alexandra.coghlan
Farinelli and The King is pretty much a perfect piece of theatre. More importantly, though, it’s perfectly timed. In a month when English National Opera’s troubles have made the front page, when op-eds are all about why Simon Rattle’s dreams of a new concert hall for London are fruitless, this paean to music – to its serious, healing, transformative power – is not only resonant, but necessary.This is Claire van Kampen’s first play, but far from her first encounter with the Globe. A former Associate Artistic Director of the company, van Kampen (who also happens to be Mrs Mark Rylance) has Read more ...
graham.rickson
The good news first: director Christopher Alden’s new production of Gianni Schicchi is quite brilliant, and one of the funniest, cleverest things you’ll see in an opera house. Puccini’s taut one-acter is difficult to mess up, but it takes some skill to present it this well. Alden’s version is full of pleasures. Like Rhys Gannon’s stroppy young Gheradino, who spends most of the action wearing headphones and playing on an iPad. Choreographer Tim Claydon’s mute, acrobatic Buoso Donati leaves this earth with some reluctance, his ghost continuing to haunt the stage. Victoria Sharp’s blingy Nella Read more ...
Bill Knight
We are sitting in the lobby of the National Theatre in the early afternoon waiting for the photocall for Dara to begin. Six or seven photographers, one woman, all dressed in jeans and dark jackets with large camera bags, some on wheels. There is not much conversation. As a relative newcomer I don't normally speak, but on this occasion I venture a remark.“I have seen this play.”After a pause one of the company says, “You're keen.”I explain that I went to a preview. Another silence then, “In one sentence, what's it about?”“It's about Sharia law.”Complete silence.Then Susie arrives and ushers us Read more ...