Opera

Die Fledermaus Opera Holland Park, until 5 August Johann Strauss’s opera Die Fledermaus is a masterpiece that I have had a lifelong passion for, a passion which productions, whether in England or abroad, are obstinately determined should remain unrequited. I hadn’t seen it, until Opera Holland Park’s new production, since the 2003 production at Glyndebourne, which almost killed my passion, with its endless laborious prosiness. All the great operas and operettas with spoken dialogue have the same problem, how to keep the interest going when everyone is waiting for the next musical item, and one would of course feel hard done by if the performance simply jumped from one to

It takes a particularly wilful wit to alight on Berlioz’s Béatrice et Bénédict as the perfect operatic nod to a Shakespeare anniversary. To walk past Verdi’s Otello, Falstaff and Macbeth, to pass over Purcell’s Fairy Queen, Gounod’s Roméo et Juliette and Bellini’s I Capuleti e i Montecchi and instead opt for this curiously and idiomatically French piece of musical flummery, in which Shakespeare’s Much Ado About Nothing finds itself stripped of any sour notes and whipped up into a sugary dramatic froth, is bold indeed. If it weren’t for the revival of Britten’s A Midsummer Night’s Dream, opening at Glyndebourne later this season, it might even look a bit like

Grey men in grey overcoats walking through grey architecture. If you had to pick an image to reflect the current mood, the prevailing fashion in opera productions, this would be it. We may have outgrown the overtly Nazi settings of a few years back, but stepping into their highly polished boots are a whole platoon of non specifically fascist, 20th century exilic fantasies — all brutality, brutalism and barbed wire. Glyndebourne’s Poliuto, the Royal Opera’s Guillaume Tell, Idomeneo and Nabucco, even English National Opera’s Force of Destiny, the list goes on, and now boasts a new member in David Bösch’s Il trovatore. At least Bösch isn’t going gentle into that

Comedy and tragedy sit close beside one another in Mozart’s operas. Whether it’s the grinning horror of the Così finale — lovers joined, perhaps for ever, to the wrong partners — or the violence and mental instability so barely contained in the flimsy comic fabric of La finta giardiniera, there’s a continuum of emotion that belies the easy binaries of opera buffa and opera seria. Two new productions explore the shifting light of the composer’s chiaroscuro world, letting sunshine into the near-tragedy of Idomeneo and glancing into the darker corners of Le nozze di Figaro. Washed up on to Garsington Opera’s stage in two enormous shipping containers, Tim Albery’s Idomeneo

Tchaikovsky knew what he thought of the title character of his Eugene Onegin. ‘I loved Tatyana, and was furiously indignant with Onegin who seemed to me a cold, heartless fop,’ he wrote to a friend; and directors, by and large, have been happy to leave it at that. And why not? Dishy but emotionally unavailable Regency dandies have been a growth area in recent years — blame it on Colin Firth, if you like — and Eugene Onegin is probably the standard repertoire opera you’re least likely to see subjected to a directorial updating, in the UK at any rate. Michael Boyd’s new production at Garsington certainly doesn’t update anything.

Tannhäuser Longborough Festival Opera, until 18 June The Longborough phenomenon continues, indeed if anything gets more remarkable each year. This year they are tackling Wagner’s least popular opera, Tannhäuser, and making it actually thrilling, at least when the title role is taken by Neal Cooper. There really is nothing to be done with parts of Tannhäuser except to get a move on, and that is what the great Wagnerian Anthony Negus does. This is one of the shortest performances I have seen or heard: since Wagner never got the opera into the shape he wanted, there are many possibilities, from his alterations over the years, for adding or subtracting a sizeable chunk. Usually

Bertolt Brecht took The Threepenny Opera  from an 18th-century script by John Gay and relocated it to Victorian London. This National Theatre version wants to straddle the contemporary and the antique. Mack the Knife, an Afghan war veteran who murders strangers, contracts a bigamous marriage with Polly Peachum, the daughter of a cross-dressing mastermind who runs begging gangs across east London. This laborious set-up takes an hour to establish and the drama gets started only when Polly’s mum vows to rub out Mack at a knocking-shop. A wise dramatist would have placed this threat in the opening scene. But Brecht isn’t a wise dramatist; he’s a preachy one and his

When I interviewed Richard Farnes in Leeds six years ago about Opera North’s project of performing the complete Ring, he struck me as the most modest conductor I had met or could imagine, with the possible exception of Reginald Goodall, who actually at a deep level wasn’t modest at all. Everything I had heard Farnes conduct had been on the highest level, but none of it had been Wagner. I wasn’t sceptical of his ability to do a complete Ring cycle, just bemused in a general way about the boundless ambition of the work and the unassertiveness of the man who would lead it. Year by year my highest hopes

‘So you’re going to see the gay sex opera?’ exclaimed my friend, open-mouthed. People certainly seem to have had some odd preconceptions about Mark Simpson’s new chamber opera Pleasure. The distinguished critic of the Daily Telegraph let it be known that he awaited ‘with trepidation, something set in the lavatories of a gay nightclub’. And to be fair, the news that Pleasure was to star Lesley Garrett — last seen in Welsh National Opera’s Chorus! ascending to the heavens aboard an enormous pair of lips — didn’t exactly dampen suspicions that we were about to see some sort of camp spectacular: Adès’s Powder Her Face meets RuPaul’s Drag Race. In

Adelson e Salvini Barbican First operas by composers who later became great or anyway expert in writing them tend to be at best of biographical interest, to be revived mainly for people who are interested to hear premonitions of the achievements that lay ahead. Up to a point that is the case with Bellini’s Adelson e Salvini, which he wrote in his early twenties, and which at the time was a big local success, being performed every Sunday for a year. Performances since bel canto operas came back into fashion have been extremely rare, and the company Opera Rara’s name has never been more appropriate than when it gave a

Ask anyone to name the greatest classical composers and certain names are bound to come up – Mozart, Wagner, Beethoven, Bach. But ask them which composer’s music they’d most like to live with for a week, exclusively, and answers will change. Greatness is one thing, but a great festival composer is quite another – someone whose works have not only sufficient quality and variety to stimulate, but also a certain comfort, a clubbable ease about them. Handel is one such, a composer whose music has spawned festivals from London to Halle, Dublin to Tokyo. It’s only appropriate, given the composer’s long association with England, that two of these festivals –

You have to be quite silly to take Gilbert and Sullivan seriously. But even sillier not to. G&S is still a litmus test for a particularly British type of operatic snobbery: ‘Is there a place for Gilbert and Sullivan in the 21st century?’ asked a Radio 3 presenter last year, about the time that ENO’s new Pirates of Penzance broke all audience records for live cinema relays in the UK. The Royal Opera, of course, won’t touch it. Which, considering how comprehensively it botched Chabrier’s L’Étoile, is probably just as well. Scottish Opera’s new Mikado is very silly indeed. Nanki-Poo (Nicholas Sharratt) simpers and lisps like Gussie Fink-Nottle. A puppet

When the Fat Lady Sings, everyone is primed to chortle, even if she is Montserrat Caballé and doing it wonderfully well. Hergé’s cartoon creation of Bianca Castafiore embodies the type: with her flaxen plaits and heaving embonpoint, she is a ridiculously bad fit for the simpering virginal heroine of Gounod’s Faust, particularly when carolling her Jewel Song at such a pitch that an agonised Tintin and Captain Haddock are forced to cover their ears. But at least Madame Castafiore has a brilliant international career: what about the Fat Lady who Can’t Sing — the diva deluded into thinking she is a nightingale when in fact she is nothing but a