Glyndebourne
David Nice
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.What the composer challengingly called "a merry thing with a sad end" is not, as some past productions have played it, an animal fable for children. Read more ...
stephen.walsh
Living and working 150 miles from London, one either clutches at local straws or gets on a train. I’ve done both in 2011, as usual, but in a way the local is more stimulating, not because it’s better (ha!) but because there’s so much less of it. For instance, I got much more of a kick from Siegfried at Longborough in Gloucestershire than from anything at Bayreuth, where everything is in the directors’ favour and they dispense huge sums year in year out on bizarre allegorisations of Wagner’s dramas.Besides being a brilliant piece of music theatre, Weinberg’s Passenger at ENO was superbly Read more ...
David Nice
Who would have thought that in a comic opera by Donizetti, least orchestra-indulgent of Italian composers, the conductor could be paramount? While Mariame Clément's production frisks around the soft edges of the stock opera buffa plot - sometimes imaginatively, elsewhere a bit superfluously - and four classy singers ensure Glyndebourne pleasures at a high level, it's Enrique Mazzola down in the pit who sets a vital pace: culling any slack business from his cast, according elegantly with the backdate to the 18th century and razor-sharp enough to keep us interested when plot and music threaten Read more ...
igor.toronyilalic
What was the audience on? They tittered when the bicycles came on, nearly cried when the whip was unleashed and virtually pissed themselves when the warring sides in Handel's crusader fantasy Rinaldo started fighting it out with hockey and lacrosse sticks (I know! Too-oo funny!). After last year's randy bunnies, Glyndebourne's Prom visits are fast becoming the nights to bury bad comedy.The one joke director Robert Carsen did get spot on was the libretto. I have some admiration for the drama's restlessness. But on the whole its unique mix of holy war, sorcery and Jackie Collins-like sauce Read more ...
David Nice
It's a bit late for a straight review, I know, as this Glyndebourne Festival Opera revival of one of the most ingenious and (hopefully) enduring productions the company has seen in recent years opened three weeks ago. I was down there yesterday giving a pre-performance talk, buoyed in the knowledge that Dvořák's heart-piercing tale of a water nymph betrayed in her quest for a human soul would once again have the benefit of director Melly Still's special vision. But could this year's soprano singing Rusalka and her tenor Prince live up to the white heat generated by their predecessors two Read more ...
Ismene Brown
Glyndebourne’s production of Benjamin Britten’s terrifying The Turn of the Screw is one that really does turn the screw tightly in the mind. It pierces time with its updating from its original Victorian setting to a bleak Fifties Britain, it tightens the tension with its wintry, claustrophic setting, and it delivers its questions into our suspicious, information-saturated modern heads with added twists. Given a magnificent musical and dramatic ensemble to interpret it in this revival, it's an evocative way for Glyndebourne to end this tense, unpredictable summer, art gnawing away at the Read more ...
David Nice
Robin the boy wonder, as he was somewhat patronisingly dubbed during his prodigious rise to conducting stardom, will make a bracing Batman for Glyndebourne Festival Opera when he takes over from current music director Vladimir Jurowski in January 2014.There's no doubt, I think, in anyone's mind down there in Sussex or indeed in the music world at large that he's the right man for the job. He learnt his craft with Glyndebourne on Tour (GOT) starting as assistant conductor on Mozart's Die Zauberflöte in 2004 and going on to be its music director from 2007-9 - an era culminating in a Read more ...
alexandra.coghlan
Each Handel opera (or the good ones at any rate) has its own musical colour and character. The woody husk of viola d’amore and low oboes bring pastoral calm to the frenzies of Orlando, bassoons lurk with doubt under the glossy strings of Ariodante. Rinaldo, the opera which announced Handel’s arrival on the London stage, glitters with the bright tints of brass and high woodwind, with even soft-toned recorders reworked as the metallic brilliancy of an obbligato piccolo.It’s triumphal stuff, musically as unsubtle as its psychology, but this is the very joy of it. The human complexities of Alcina Read more ...
igor.toronyilalic
Donizetti's L'elisir d'amore must be the only opera from whose central lesson one can actually learn something. Its message - drink, chill out, back off and the girl will be yours - is as good a moral guide to life as any. But it was still surprising to leave Glyndebourne last night satisfied. Beforehand, I couldn't imagine a way in which last year's brashly inventive Americana production of the opera by Jonathan Miller for the ENO could be bettered. But it almost was.Not by the visuals, mind. Lez Brotherston's sets and Annabel Arden's direction followed a tried, tested and yawn-inducing Read more ...
stephen.walsh
Two 1950s Mozarts in one weekend might seem like pressing the contemporaneity of great art unnecessarily far. But Jonathan Kent’s Glyndebourne Don Giovanni, revived on Sunday, is a much less crude update than the WNO Così. True, the dramatis personae might have wandered in from a Fellini film set vintage 1960, with Giovanni recast as Marcello Mastroianni, but the setting itself, by Paul Brown, is at least quasi-classical, columned and arcaded, with a whiff of Hellfire Caves and, in the end, a sort of Chirico-esque fragmentation, none of which conflicts too drastically with the social and Read more ...
David Nice
So the world didn't end yesterday as predicted, and Wagner's divine comedy about the meaning of art has weathered the ironic apocalypse following Hitler’s misappropriation. Bayreuth reels, but we Brits are lucky to have two stagings in under a year which take the humanism at face value. Scaling it down for Glyndebourne's intimate summer paradise, given director David McVicar’s knack of finding a plausible historical setting, should have offered a viable alternative to Richard Jones's hallucinogenically wonderful Welsh National Opera production. Often it did. The problem was that several Read more ...
philip radcliffe
Deep in rural Cheshire farmland, music is in the air. It’s not the music of the spheres from the Jodrell Bank radio telescope nearby, nor even the sound of the birds and the bleating of the lambs nearby. It is the music of human voices at work on scales and operatic arias. The 250-acre farm is Clonter, where for years people used to come to be entertained in the barn while picnicking amid bales of straw. Now the barn’s converted into an opera theatre - "the Glyndebourne of the North".The venue wasn’t easy to find in those early days among Cheshire’s winding lanes, high hedges and farm tracks Read more ...