Opera Reviews

The Rape of Lucretia, Glyndebourne Tour

David Nice Sunday, 20 October 2013

“Aren’t you sick of Britten yet?” asked a colleague three-quarters of the way through the composer’s centenary year. Absolutely not; there have been revelations and there still remains so much to discover or re-discover. Yet re-evaluation can sour as well as sweeten; acclaimed works in the canon may turn out less good than remembered.

Comment

Les Vêpres Siciliennes, Royal Opera

David Nice Friday, 18 October 2013

First fanfare had to be for the Royal Opera House’s main gambit in Verdi bicentenary year, staging its first ever Sicilian Vespers 158 years after the Paris premiere. Any of Verdi’s operas from Rigoletto onwards deserves the red carpet treatment, and this unwieldy epic, with its opportunistic grafting of a melodramatic plot on to the Palermitans’ massacre of the French in 1282, has more than enough vintage music to be worthy of anyone’s close attention.

Madam Butterfly, English National Opera

Mark Valencia Tuesday, 15 October 2013

When the going gets tough, wheel out a crowd-pleaser. Even by its own volatile standards English National Opera has had a poor start to its autumn season, with productions of Fidelio and Die Fledermaus that seem destined to join the company’s ever-growing chamber of unrevivable horrors. ENO’s cash-strapped board must therefore be lighting another candle to the late Anthony Minghella, whose glacially delicate Madam Butterfly is always good for an outing.

Comment

Jason/Agrippina, English Touring Opera

alexandra Coghlan Wednesday, 09 October 2013

English Touring Opera has form when it comes to baroque opera. Handelfest in 2009 marked the composer’s 250^th anniversary with a sequence of excellent stagings, while 2010’s The Duenna was a riotous and irreverent musical delight, and there was an Alcina back in 2005 that still sticks in the memory for all the right reasons.

Roberto Devereux, Welsh National Opera

stephen Walsh Thursday, 03 October 2013

Whatever it was about the kings and queens of England that so intrigued Donizetti, it certainly wasn’t their politics. The third, and last, in WNO’s autumn cycle shows Elizabeth once again in a state of unrequited love with one of her rebellious (and much younger) nobility, but wholly unconcerned with affairs of state; and the one thing that distinguishes her from the average abandoned woman of Romantic opera is that she has the power to decapitate her uncooperative swains.

The Wasp Factory, Linbury Studio Theatre

Igor Toronyi-Lalic Thursday, 03 October 2013

A baby's brain is polished off by a throbbing welter of maggots. A field of sheep are on fire. A screaming child whose hands have been tied to a kite is flying out over the North Sea. How do you make an opera out of any of this? The answer of course is you don’t. You leave this kind of thing to cinema or the novel. Opera is - contrary to popular belief - extremely bad at spectacle, especially if the aim is to terrify. Horror has never had much of a look-in as a genre in the art form.

Die Fledermaus, English National Opera

Geoff Brown Tuesday, 01 October 2013

Rich, racy, randy and irreverent: such were the R words gathered up by a Canadian critic to capture the essence of Christopher Alden’s production of Johann Strauss’s cork-popping operetta when it premiered in Toronto last year. Other R words, alas, came to my mind, like rubbish, reprehensible, risible, even rigor mortis.

Peter Grimes, LPO, Jurowski, Royal Festival Hall

David Nice Sunday, 29 September 2013

For Londoners unable to travel up to Aldeburgh – or, now, to Leeds for the revival of Phyllida Lloyd’s Opera North production – this was the only chance in Britten centenary year to be blitzed by his seminal masterpiece.

Comment

A Midsummer Night's Dream, Opera North

graham Rickson Sunday, 29 September 2013

All starts with a barely perceptible bass rumble, before Britten’s lower strings begin their queasy glissandi, shifting key signature every few seconds. It’s a wonderful operatic opening, here teased out with deft mystery by conductor Stuart Stratford.

Fidelio, English National Opera

Edward Seckerson Thursday, 26 September 2013

The first words we hear don’t belong to Fidelio at all. The first music does, but not at all where you expect to find it. If you’ve read your programme (and who does before the show begins?) you’ll find a poem entitled “Labyrinth” by Jorge Luis Borges from a collection In Praise of Darkness.