Strauss
Ariadne auf Naxos, Opera Holland Park - stylish staging, world-class singingWednesday, 18 July 2018
"When the new god approaches, we surrender, struck dumb". Especially if, for the singer of those words, popular entertainer Zerbinetta, the “new god” takes the shape of same-sex love. Director and designer Anthony McDonald locates the real “mystery... Read more... |
Ariadne auf Naxos, Longborough Festival review - appetising energy and witSaturday, 14 July 2018
Much as I love Strauss’s Ariadne in its final form, I have a sneaking nostalgia for the original version (attached to Hofmannsthal’s adaptation of Molière’s Le bourgeois gentilhomme), which had Zerbinetta and her companions popping up after the... Read more... |
Capriccio, Garsington Opera review - a classy evening with words and musicMonday, 04 June 2018
Like the comedies of Mozart – the genius the artistic milieu depicted in Capriccio seems to be waiting for, if its original 1770s setting is observed – the more conversational operas of Richard Strauss depend far more than one often realises on... Read more... |
Der Rosenkavalier, Glyndebourne - detailed acting, great singingMonday, 21 May 2018
If Hugo von Hofmannsthal's libretto for Richard Strauss in their joint "comedy for music" is the apogee of elaborately referenced dialogue and stage directions in opera, Richard Jones's realisation - for all that it throws out much of the original... Read more... |
The Rosenkavalier film, OAE, Paterson, QEH review - silent-era muddle expertly accompaniedFriday, 18 May 2018
Let's face it, Robert "Cabinet of Dr Caligari" Wiene's 1926 film loosely based on Strauss and Hofmannsthal's 1911 "comedy for music" is a mostly inartistic ramble. Historically, though, it proves fascinating. The composer mostly left it to Otto... Read more... |
Lucy Crowe, Anna Tilbrook, Wigmore Hall review - the eternal and ephemeral feminineSaturday, 05 May 2018
When you have 21 women to present in song, but only a couple among the 14 poets and none to represent them out of the 15 composers idolising or giving them a voice, you need two strong defenders of their sex at the helm. Lucy Crowe and Anna Tilbrook... Read more... |
Matthias Goerne, Seong-Jin Cho, Wigmore Hall review - slow and slower StraussWednesday, 25 April 2018
Matthias Goerne has an exceptional ability to sustain evenness and legato through a vocal line. His breath control and his tone production are things to be marvelled at. He is able to function at impossibly slow tempi, and to make an audience hold... Read more... |
Classical CDs Weekly: Hans Abrahamsen, Lully, Strauss, Duo JatekokSaturday, 21 April 2018
Hans Abrahamsen String Quartets No. 1-4 Arditti String Quartet (Winter & Winter)The opening section of Danish composer Hans Abrahamsen’s 2012 String Quartet No. 4 is subtitled “light and airy”, and, aptly, the four strings produce extraordinary... Read more... |
Gerhardt, RPO, Payare, RFH review - personality muted by faceless conductingWednesday, 28 March 2018
Former Royal Philharmonic Orchestra principal conductor Charles Dutoit has been exposed, to little surprise from musicians, as something of a roué whose apparent refusal to take "no" for an answer has rubbed up against the new #MeToo world. So his... Read more... |
Ariadne auf Naxos, Scottish Opera review - superb singing in slick new productionTuesday, 27 March 2018
"The Show must go on". So say the posters dotted around Glasgow and Edinburgh for Scottish Opera's production of Richard Strauss's Ariadne auf Naxos. Except on Thursday, it didn’t. A fire at a nearby Glasgow nightclub which ravaged several city... Read more... |
Louise Alder, James Baillieu, Wigmore Hall review - sensual heat thaws a winter's eveningMonday, 22 January 2018
Rapture, ecstasy, ardour, and a few cheeky fumbles in the bushes – Louise Alder and James Baillieu’s Wigmore recital promised “Chants d’amour” and delivered amply, giving us love in all its bewildering, technicolour variety. From the heady eroticism... Read more... |
Salome, Royal Opera review – lurid staging still packs a punchTuesday, 09 January 2018
David McVicar may seem too gentle a soul for the lurid drama of Strauss's Salome, but his production, here returning to Covent Garden for a third revival, packs a punch. He gives us plenty of sex and violence – or at least nudity and blood – but... Read more... |
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