David mcvicar

‘Here time becomes space,’ says Gurnemanz in Act One of Parsifal, and true enough, the end of the new Glyndebourne Parsifal is in its beginning. We don’t know that, at first: the sickbed image that’s glimpsed during the prelude doesn’t resolve itself until the opera’s closing scenes. In between, characters appear on stage in multiple forms, at different ages – past and future selves attendant on the present, whatever ‘present’ means in Monsalvat. Wagner, after all, makes it clear enough that time in the Grail Domain moves in mysterious ways, and his whole musical strategy reinforces that truth. So I can’t get too upset about those multiple personas, even though

A classic opera production ages like wine. When David McVicar’s staging of Handel’s Giulio Cesare first opened at Glyndebourne in 2005, Michael Tanner – writing in these pages – loathed it. ‘A quite hateful betrayal’ was how he described a production that is now widely regarded as a classic. It would be easy to brandish those words now he’s gone – ha ha, no one ever erected a statue to a critic – ignoring the truth that any first night review can only ever be a snapshot, and that the big story back then was the hyperactive, neon-lit debut of Danielle de Niese as Cleopatra. Tanner did predict that de

Bristol has a new concert hall, and it’s rather good. The transformation of the old Colston Hall into the Bristol Beacon has been reported as if it was simply a matter of upgrading and renaming. There were probably sound reasons for doing so, but in fact (and despite protests from the Twentieth Century Society) the postwar auditorium has been demolished outright and replaced with a wholly new orchestral hall designed on the best current principles: shoebox-shaped, with much use of wood and textured brick. Butterworth sears his melodies on to the eardrums. Isn’t it weird we still think of the Edwardians as inhibited? Acoustically, it’s extremely fine – not a

The first night of the new season at Covent Garden was cancelled when the solemn news came through. The second opened with a short, respectful speech from Oliver Mears, the director of opera, and a minute’s silence in which the houselights were lowered and we could gaze at the curtains, from which the huge gold-embroidered EIIR cypher had already been removed. For the first time in King Charles’s reign, we sang the national anthem to unfamiliar new words. There were shouts of ‘God Save the King!’And then the lights dimmed once more and we proceeded with the business of the evening, and the life of the Royal Opera. Britain has

Sir Simon Rattle and the London Symphony Orchestra began the year with a world première. Unsuk Chin’s Second Violin Concerto opened with the soloist, Leonidas Kavakos, completely alone in front of a silent orchestra, playing phrases that rocked back and forth until, suddenly, they were striking sparks. As well they might; Kavakos, after all, is the reason that the concerto exists — the violinist whose ‘burningly intense’ (the composer’s words) artistry has prompted Chin to break her self-imposed rule of writing only one concerto for any given instrument. She explained in the programme notes that ‘the solo violin part forms the foundation of the whole score, the soloist triggering all