Opera

Should fat be an issue in opera? Are our opera critics overgrown schoolboys with a body fixation? To judge from reports and editorials in print and online over the last two days, you can answer ‘no’ and ‘yes’ respectively. Simple? No, not really. On Monday morning, the critics of various national newspapers published reviews of Glyndebourne’s new production of Der Rosenkavalier. These reviews included comments about the physical appearance of Tara Erraught, the young mezzo-soprano cast as Octavian. These comments have been widely disparaged and taken as evidence of ‘body shaming’ on the part of ‘male, middle-aged critics’. My first inkling of this debate came when many of my Facebook friends (mostly the opera singers) recommended an open letter by Alice Coote (on Norman Lebrecht’s Slipped

I remain puzzled that, so far as I know, no daily or weekly paper carries reviews of the New York Met opera relays (I’m not a denizen of the blogosphere, where they may well swarm). To judge from the number of cinemas that show these live relays, and from how crowded most of them are, clearly more people see opera in this form than in any other. And many of those people will be experiencing opera live for the first time in cinemas, and may well never go to an opera house. I suspect there is a strong element of snobbery involved on the part of non-reviewers, as if one

A revival of Anna Nicole will open the Royal Opera House new season, it was announced today. And students will be able to get in for £1, tweeted Kasper Holten proudly. A quid! So that’s an orchestra, an excellent cast of 17, a chorus, a production team of two or three dozen, two hours of words and music and a very good conductor all for less than one pot noodle. The news might baffle. The received wisdom is that opera tickets are too high. Far too high. So high that they are the principal (if not sole) reason why the art form has fallen behind the others in the popularity stakes.

Always try to get the worst seats for the opera. Upper circle. Foyer. Toilet. The nearest bus stop. The further back the better. You’ll regret it if you don’t. There really is nothing more off-putting than being able to see the singers. Opera up close, as Princess Margaret once said, is just two fat people shouting at each other in a large room. And then there’s the clown make-up and trannie costumes to deal with. It all makes much more sense from afar, where it assumes a lovely dreamy abstract fuzz. Was that a smile? Or a stroke? Who knows. The words and music will carry you along. But even ‘good’ theatrical

Opera seems almost always to have been acutely concerned with its own future. These days this is most often manifested in occasionally desperate, sometimes patronising attempts to entice new audiences to the art form. A new three-way initiative between Aldeburgh Music, the Royal Opera and Opera North takes a different tack by enabling a new generation of composers and librettists to try its hand in this most exacting art form. The initiative’s first fruit was a double bill premièred in Aldeburgh before being shown at Covent Garden’s Linbury Studio Theatre and Leeds’s Howard Assembly Room. That these two short pieces, about 45 minutes long each, should feel like studies for

The difference between lovable, likable and admirable is perhaps more significant in the operatic world than in other artistic spheres — and is often, alas, translatable directly into all-important box-office receipts. The most ambitious production in English Touring Opera’s spring season provides an opportunity to see where Michael Tippett’s second opera, King Priam, fits on the spectrum. Premièred in Coventry in 1962, one day before Britten’s War Requiem, it’s rarely staged but often spoken of in tones of hushed awe; and it is undoubtedly a remarkable work: spare, concise, fierce and often irresistible in its conviction. After the strange, sprawling, socks-and-sandals allegory of Tippett’s first opera The Midsummer Marriage, the

For a committed, if unsuccessful, capitalist, I enjoy French culture an embarrassing amount – every last state-funded drop of it. Give me five-act operas with cast lists the size of a small Chinese city, give me obscenely expensive works of public art, give me inhumane concrete estates, give me unintelligible modernist music and I’ll be drooling with pleasure all night. In fact, I’m seeing a five-act French opera with a cast list the size of a small Chinese city tonight in Bordeaux. That’s the kind of disgusting thing I like to do. In my defence, I am aware that what I am doing is immoral and what is being created should be

Yet more performances of Elektra, Richard Strauss’s setting of Hugo von Hofmannsthal’s ramped-up, neurosis-riddled 1903 reworking of Sophocles, are unlikely to force any anniversary-year reassessments of the composer. But the piece’s current ubiquity does reflect the fact that we’re now relatively well off for singers equipped to tackle the fearsome title role. At their head, arguably, stands the German soprano Evelyn Herlitzius. She’s yet to make her Covent Garden debut, inexplicably, but her riveting performance galvanised the opening night of the first high-profile new production of the work in 2014, at Dresden’s Semperoper, where it shocked and awed its first audience 105 years ago. Re-opened in 1985, the reconstructed theatre

Of this year’s three musical birthday boys, Wagner has fared, in England, surprisingly well, Verdi inexplicably badly, and Britten, as was to be expected, has received the royal treatment. No one could have predicted, though, that the culmination of the celebrations would be as glorious as it was: a single semi-staged performance at the Barbican of what, in my minority opinion, is his operatic masterpiece, Albert Herring. Surely after attending it, or hearing it on Radio 3, that might become a majority opinion. For what this performance revealed was a work that is inspired throughout, has no longueurs, which are to be found in almost all Britten’s other operas, even

Visits by English Touring Opera are always to be looked forward to, but this autumn it has surpassed itself with three baroque works, two of them masterpieces and the third a fascinating rarity, all performed by casts of astonishingly high calibre, and produced helpfully, resourcefully, with simple elegant sets, which are all that is needed, though they probably cost a thousandth as much as the eye-catching splurges that we often see in London. First up, anyway at the Arts Theatre Cambridge, was the rarity: Cavalli’s Jason (intelligent to translate the titles where possible, since all the operas are sung in English). Apparently, it was the 17th century’s most popular opera,

A new production of The Magic Flute is something to look forward to, if with apprehension. How many aspects of this protean masterpiece will it encompass, and how many will be neglected or distorted? The answer, in the case of Simon McBurney’s effort at the Coliseum, is that almost everything that contributes to the work’s greatness is ignored or reduced, so that an evening that should be spent in a state of growing elation merely induces irritation deepening to rage, with patches of life-draining boredom. Not that the first-night audience shared my view, to judge from the roar of applause that greeted the final curtain, and the frequent guffaws and

This year’s live relays of New York Met performances have a markedly Slav flavour, with Shostakovich’s rare The Nose next up, and later Dvorak’s Rusalka and, most interestingly, Borodin’s Prince Igor. It kicked off with Tchaikovsky’s Eugene Onegin, the most popular though not the finest of his operas. On the first night there were sustained protests both outside and inside the Met, against the Putin crony Valery Gergiev and against Anna Netrebko, a supporter of the plutocrat dictator. Odd that there aren’t more protests, when you think that people still get heated and even write books about musicians who stayed in the Third Reich, often acting courageously. There were no