English touring opera

Florid flummery: ETO’s Il viaggio a Reims reviewed

Lightning sometimes strikes twice. English Touring Opera hit topical gold last spring when, wholly by coincidence, they found themselves touring with Rimsky-Korsakov’s Russian anti-war satire The Golden Cockerel. Now the company’s general director Robin Norton-Hale insists that their current tour of Rossini’s Il viaggio a Reims – written in 1825 to celebrate the coronation of King Charles X of France – was fixed long before this month’s events at Westminster Abbey were even a glint in the Earl Marshal’s eye. Really? In truth, opera planning cycles generally operate in years rather than months. On the other hand, Il viaggio a Reims is an extravagant heap of dramatic (if not musical)

Bold, self-assured reimagining of Monteverdi: Opera North’s Orpheus reviewed

You wouldn’t like Tamerlano when he’s angry. ‘My heart seethes with rage,’ he sings, in Act III of Handel’s opera – spraying coloratura about the stage like Silly String on a 1980s kids’ TV show. That’s the deal with baroque opera: the emotional register is extreme and you’re either in the moment or you might as well leave the theatre. Literal realism, clearly, is not the point – making it even more necessary for a modern director to sketch in some hint of a social or cultural framework in which we can locate and comprehend these hyper-real characters. The music is too hot and too strong to work as drama

Pitch-black satire drenched in an atmosphere of compelling unease: ETO’s Golden Cockerel reviewed

Blame it on Serge Diaghilev. Rimsky-Korsakov died in 1908 and never saw the première of his last opera, The Golden Cockerel. When the great showman finally presented it in Paris in 1914, it was as Le Coq d’Or: a spectacular opera-ballet hybrid, with colourful, folk-inspired designs by Natalia Goncharova that came to define the Ballets Russes in its imperial phase. That was the form in which it came to Britain, where the Evening Standard described it as a ‘farrago of love-making, black magic and ingenuous inconsequence’ before turning to the real news – the costumes. And that’s the basic impression – a fabulous but flimsy slice of Slavic exotica –

Josquin changed musical history – why don’t we hear more of him?

Stepping into the Sistine Chapel, the choir loft is probably the last thing you’d notice. ‘Loft’ is, frankly, a stretch for what amounts to a small alcove with a wooden bench, carved out of the chapel’s wall. But if you made your way up there and ran your hand over the stone you’d feel something unexpected. Etched into the wall in haphazard graffiti are hundreds of names. In most cases the carvings are all that remain of centuries of singers from the papal choir. But one is different: ‘JOSQUINJ’. Chances are it’s the only surviving signature of Josquin des Prez — a composer whose name and legacy are carved just

After weeks of silence, Royal Opera reopened with a whimper

It was the fourth time, or maybe the fifth, that I found myself reaching for the tissues that I began to feel suspicious. Somewhere between the poignant gaiety of A.E. Housman’s ‘…lads that will never be old’, Shakespeare’s tender valediction ‘Fear no more the heat o’ the sun’ and Strauss’s ‘Morgen!’, with its rapturous vision of a never-reached tomorrow, emotion turned to manipulation. You can’t engineer catharsis (though you can score it to music), and this attempt felt like something a visit to the Royal Opera House has rarely felt like before — cheap. It wasn’t that there was anything wrong with the performances at this first in a series

The musical vaccination we all needed: ETO’s Cosi fan tutte reviewed

Anyone familiar with Joe Hill-Gibbins’s work will brace instinctively when the curtain goes up on his new Figaro. He’s the young British director who smeared the Young Vic with jelly and custard (The Changeling) and transformed it into a giant mud pit (A Midsummer Night’s Dream), covered the Almeida in blood and more mud (The Tragedy of King Richard the Second) and bathed his cast in a stomach-turning blend of salad cream, ketchup and baked beans at the Edinburgh Festival (Greek).So when the curtain rises on a white-walled corridor whose sterile purity is broken up only by four equally white doors you do mentally reach for a mop. But Hill-Gibbins’s