thu 24/01/2019

Opera Reviews

The Path to Heaven, RNCM, Manchester review - tragedy, truth, passion

Robert Beale

Adam Gorb’s The Path to Heaven, with libretto by Ben Kaye, is his longest work to date (almost two hours’ running time without interval) and on a story that could hardly be more tragic – the Holocaust.

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Kiss Me, Kate, Opera North, London Coliseum review - Cole Porter delivered in true company style

David Nice

First palpable hit of the evening: a full orchestra in the pit under hyper-alert Opera North stalwart James Holmes, saxophones deliciously rampant. Second hit: they've got the miking of the voices right (very rare in West End shows). Third: the first ensemble number, "Another opening, another show", sends spirits soaring.

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Falstaff, Garsington Opera review - Sir John under pressure

Sebastian Scotney

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.

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Berlin to Broadway with Kurt Weill, Opera North, City Varieties Music Hall review - life as a cabaret

graham Rickson

Peer at the small print and it’s clear that Berlin to Broadway with Kurt Weill is actually a spruced-up repackaging of a show originally devised by Gene Lerner and arranger Newton Wayland, about whom Opera North’s programme tells us nothing.

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Mamzer Bastard, Royal Opera, Hackney Empire review - inert Hasidic music-drama

David Nice

Striking it lucky with a successful new opera is a rare occurrence, though every company has a duty to keep on trying.

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Acis and Galatea, English National Opera, Lilian Baylis House review - Handel for the hashtag generation

alexandra Coghlan

If you go to ENO’s Acis and Galatea expecting a grassy knoll draped decoratively with a Watteau shepherdess or two then you may be disappointed.

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Roscoe, BBC Philharmonic, Mena, Bridgewater Hall, Manchester review - a scenic send-off

Robert Beale

Juanjo Mena, chief conductor of Manchester's BBC Philharmonic for the past seven years, took his official leave of them with a programme reflecting his great love, the music of his Spanish homeland.

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Giulio Cesare, Glyndebourne review - no weak link

Sebastian Scotney

What a great show, on every level. David McVicar’s Glyndebourne production of Handel’s Giulio Cesare, originally staged in 2005, and in its third revival this year, has a cast without a weak link, and never fails to draw in the audience to the work’s cycles of power, suffering, death and intermittent triumph...

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Un ballo in maschera, Grange Park Opera review – singing out against the American grain

Boyd Tonkin

Stumble across Grange Park Opera’s new brick-clad “Theatre in the Woods”, nestled amid a labyrinth of gardens and orchards next to the rambling Tudor pile of West Horsley Place in Surrey, and on a mild June evening you may feel as if you have fallen into some Home Counties version of a magic-realist novel.

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Lohengrin, Royal Opera review - swan mystery musically illuminated

David Nice

It's awfully long for a fairytale in which a mystery prince helps a damsel in distress, and she asks him the question she shouldn't. Myth tends to go deeper, as Wagner did in The Ring of the Nibelung after Lohengrin. Here he captures the magic of transformation and transcendence, but in between there's too much hard-to-stage pomp.

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