Opera Reviews

La Canterina, Classical Opera, Page, Wigmore Hall

Helen Wallace Tuesday, 20 September 2016

Papa Haydn might have been tickled to see his early intermezzo, La Canterina, pack out the Wigmore Hall on a Monday night. A night for connoisseurs, then, but Classical Opera has form when it comes to refreshing classical repertoire with the elixir of vocal youth. And with a line-up boasting Susanna Hurrell, Rachel Kelly, Kitty Whately and Robert Murray, this was no exception.

Norma, Royal Opera

alexandra Coghlan Tuesday, 13 September 2016

You wait ages for a Norma, and then three come along at once. English National Opera saw something nasty in the woodshed back in February with their 19^th-century American take on Bellini, while up at the Edinburgh Festival this summer the opera’s original Romans and Druids traded togas for Tricolores and relocated to Nazi-occupied Paris.

Owen Wingrave, British Youth Opera, Peacock Theatre

alexandra Coghlan Wednesday, 07 September 2016

Owen Wingrave is the Britten opera that always comes with a caveat, an apology. Dramatically flawed (a problem partially, but by no means entirely, accounted for by its genesis as a television opera) and musically uneven, it has nevertheless emerged recently as a favourite choice for young singers, with Guildhall (2013), the Royal Conservatoire of Scotland (2016) and now British Youth Opera (2016) all choosing to stage it, with varying degrees of success.

Prom 68: Semiramide, OAE, Elder

alexandra Coghlan Monday, 05 September 2016

Between the Berlin Philharmonic, Leipzig Gewandhaus Orchestra and Simón Bolivar Symphony Orchestra it has been a big week at the Proms, in every sense. Scope and scale have been the watchwords for the orchestral tectonics that have taken place, the sonic landscapes that have been formed and reformed.

Comment

Prom 45: The Makropulos Affair, BBCSO, Bělohlávek

David Nice Saturday, 20 August 2016

Karel Čapek, the great Czech writer who pioneered some of the most prophetic dramatic fantasies of the early 20th century, thought Janáček was nuts to want to set his wordy play about a 337-year-old woman to music. He could not have anticipated what that septuagenarian genius would achieve. Some of us felt similarly doubtful about singers performing this most conversational of operas with scores and music stands in a "concert staging".

A Midsummer Night's Dream, Glyndebourne

alexandra Coghlan Friday, 12 August 2016

Britten’s A Midsummer Night’s Dream is too other-worldly to have anything as mortal as a musical heartbeat. Pulsing through it instead are musical quivers, jolts of eerie energy first heard in the opening cello glissandi.

The Exterminating Angel, Die Liebe der Danae, Salzburg Festival

David Nice Wednesday, 03 August 2016

"Because the world has outlived its own downfall, it nevertheless needs art." Paul Celan's words stand alongside Anselm Kiefer's Jacob's Dream, part of a stunning Surrealism-centric exhibition in the foyer of Salzburg's second and more amenable festival venue, the Haus für Mozart. What a meaningful motto it turned out to be for both of this year's major festival offerings, good and bad.

Comment

The Yeomen of the Guard, National Gilbert & Sullivan Opera Company

Richard Bratby Tuesday, 02 August 2016

By the end of Act One of The Yeomen of the Guard there's been a jailbreak, a clandestine marriage, a swapped identity and a cancelled beheading. The chorus sings, halberds are brandished, and a jester jests. Even by Gilbert and Sullivan standards, it’s one heck of a tangle.

Comment

Kommilitonen, Welsh National Youth Opera, Barry

stephen Walsh Friday, 29 July 2016

What happened was this. I found my way, not without difficulty, to the Barry Memo Arts Centre, got my ticket, had a chat with the librettist, stopped to order an interval drink, then turned round to discover that the entire audience had disappeared, as if eliminated by a Star Wars de-atomiser, or whatever those things are called.

Béatrice et Bénédict, Glyndebourne

David Nice Thursday, 28 July 2016

Locations count for little in most of Shakespeare's comedies. Only a literal-minded director would, for instance, insist on Messina, Sicily as the setting for Much Ado About Nothing. In Béatrice et Bénédict, on the other hand, Berlioz injects his very odd Bardolatry with lashings of the southern Italian light and atmosphere he loved so much.