The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
The Tsar’s Bride is Rimsky-Korsakov’s tenth opera, give or take various versions of some previous ones, but you’d never guess it. The Tsar’s Bride is Rimsky-Korsakov’s tenth opera, give or take various versions of some previous ones, but you’d never guess it. The production at the Royal Opera, which is exemplary in most respects, suggests
One of the troubles with opera is that since creating and putting one on involves so many people many composers write as if for eternity, or at least for a sizeable segment of it. It’s been a great boon in recent years that some companies, notably Tête-à-Tête, have encouraged the creation and production of operas-in-progress
The opening performance of the Royal Opera’s first revival of Fidelio, in the production by Jürgen Flimm which was unwisely imported in 2007, was so dreary that it would be better not to comment on it, except that it seems worth separating the inherently feeble elements from the ones that happened to be present, and
English Touring Opera continues to be the most heroic of companies. This spring season it is performing at 17 locations, from Exeter to Perth, Belfast to Norwich. And in the many years that I have been going to its productions, there has been no compromise in standards and absolutely no contraction of repertoire to the
Scene: the Royal Opera House, last Friday, 10.35 p.m. In the last act of Aida, Amneris, in the formidable person of Olga Borodina, has just concluded her magnificent denunciation of priests: ‘Cruel monsters! You will always be thirsty for blood!’ and the final ten minutes remain, the exquisite scene in which the hero and heroine
Two of the most popular operas in the repertoire, works which I adore, but which I’m almost always disappointed by productions of; yet on two consecutive evenings in the Wales Millennium Centre I gained intense pleasure from each of them. Two of the most popular operas in the repertoire, works which I adore, but which
It is some time since any of the masterpieces of Wagner’s high maturity has been staged in London, so ENO’s revival of Parsifal was most welcome, despite memories of the irritations and worse of the production in 1999. It is some time since any of the masterpieces of Wagner’s high maturity has been staged in
The Royal Opera has been both noisy and evasive about Mark-Anthony Turnage’s new opera, Anna Nicole, with words by Richard Thomas of Jerry Springer: the Opera notoriety. The Royal Opera has been both noisy and evasive about Mark-Anthony Turnage’s new opera, Anna Nicole, with words by Richard Thomas of Jerry Springer: the Opera notoriety. I
Artistic integrity is the subject of Mieczysław Weinberg’s opera The Portrait, as it is of Gogol’s short story from which it is adapted. Artistic integrity is the subject of Mieczysław Weinberg’s opera The Portrait, as it is of Gogol’s short story from which it is adapted. And whatever one might feel about the work —
Someone should write an opera about a once-great opera company, now in artistically suicidal decline. A few decades ago it had great productions and performances of the masterpieces of the repertoire, but it has been scared by successive governments warning about élitism, the need for attracting new, young, opera-hating audiences, and so on. So it
The annual collaboration between Scottish Opera and the Royal Scottish Academy of Music and Drama is, as the principal of the RSAMD writes, ‘a model…for partnership working between professionals and professionals-in-training’, and it is hard to think of any work more suitable for this partnership than Janácek’s The Cunning Little Vixen. The annual collaboration between
As I sat fuming through the latest absurd production of Carmen, this one directed by the controversial Daniel Kramer for Opera North, it struck me that this opera, like one other of the trio of popular masterpieces set in or around Seville, Mozart’s Don Giovanni, suffers because its central figure leads a separate life of
The Royal Ballet could not have timed better its new run of Swan Lake. Swans — and black ones, in particular — are all the rage these days. The Royal Ballet could not have timed better its new run of Swan Lake. Swans — and black ones, in particular — are all the rage these
It’s sometimes intriguing to speculate, as you go to an opera in a fringe production of one kind or another, about how much messing around (used neutrally) this or that popular work can take. It’s sometimes intriguing to speculate, as you go to an opera in a fringe production of one kind or another, about
Is Humperdinck’s Hänsel und Gretel an opera for children of all ages, or for grown-ups and for children, or mainly for grown-ups? I went to the Royal Opera’s revival of it just after Christmas, to a 12.30 matinée (there were several), which I took to be for the benefit of children, as well as possibly
It is characteristic of Wagner’s operas, in their remarkable urgency and depth, that initially one thinks they are dealing with one or another opposition, for instance, Power versus Love in the Ring, only to find, as one gets further into them, that they are very much more complicated than that, and often that what seems
Having been away, I only got to Alexander Raskatov’s opera A Dog’s Heart at its fifth performance by ENO, by which time everyone knew that it was brilliantly mounted, but not of much musical substance. Having been away, I only got to Alexander Raskatov’s opera A Dog’s Heart at its fifth performance by ENO, by
Semyon Bychkov has rather unspectacularly become one of the world’s most sought after conductors, and at present he is in London to conduct a series of performances of Wagner’s now least often staged canonical opera, Tannhäuser, at the Royal Opera House. Semyon Bychkov has rather unspectacularly become one of the world’s most sought after conductors,
The subtitle of Mozart’s Don Giovanni is ‘Il dissoluto punito’ (the rake punished), that of Rossini’s La Cenerentola is ‘La bontà in trionfo’ (goodness triumphant), while Monteverdi’s L’Incoronazione di Poppea might well be subtitled ‘Vice rewarded’. The subtitle of Mozart’s Don Giovanni is ‘Il dissoluto punito’ (the rake punished), that of Rossini’s La Cenerentola is
Francesco Cilea’s Adriana Lecouvreur, his biggest success, dating from 1902, leads a fringe existence, but it persists thanks primarily to the name role, dramatically meaty and not imposing too great a strain on the performer. Francesco Cilea’s Adriana Lecouvreur, his biggest success, dating from 1902, leads a fringe existence, but it persists thanks primarily to
When is a country-house opera not a country-house opera? When it no longer has a country house attached. This is what is about to happen to Garsington Opera, which is moving, lock, stock, barrel and picnic basket, from the exquisitely planned and intimate gardens of the Bloomsbury-redolent Garsington Manor near Oxford to the wide-open rolling
Don Giovanni is an opera which gives plenty of scope for alternative interpretations, as has been very clearly demonstrated in the past 30 or so years, since directors took over as the determining force in productions. But there are certain basic features which any production, to be taken seriously, must respect. The two most obvious
Jonas Kaufmann’s ascent to the position of the leading German lyric-dramatic tenor has been surprisingly gradual. I first saw him in Edinburgh in 2001, giving a Lieder recital in the Queen’s Hall, and was immediately astonished that I hadn’t heard of him before. For the next few years, I heard him there in more recitals,
The Royal Opera last revived its production of Gounod’s Roméo et Juliette ten years ago, with what were then known as the lovebirds, Gheorghiu and Alagna, who imparted their own kind of glamour to the work. The Royal Opera last revived its production of Gounod’s Roméo et Juliette ten years ago, with what were then
It’s been too long since I saw The Merry Widow. I have been thinking that for some time, and the superb new production of it by Opera North only made me feel that we should be able to go to more performances of it than we get a chance to. It has been newly and
The more often I see Britten’s The Turn of the Screw, the more I am bewildered and fascinated by it. The more often I see Britten’s The Turn of the Screw, the more I am bewildered and fascinated by it. There is no question that it is one of his most brilliant operatic scores, if
Promised End Linbury Studio, in rep until 16 November Radamisto English National Opera, in rep until 4 November ‘There is perhaps no play which keeps the attention so strongly fixed; which so much agitates our passions and interests our curiosity. Promised End Linbury Studio, in rep until 16 November Radamisto English National Opera, in rep
Any seasoned opera-goer is likely to have had the experience of attending a performance where most things are right, but the overall impression is dismal; and also where, even more puzzlingly, most things are wrong but somehow the total effect is good or even overwhelming. To some extent it is relative to the work being
Hänsel und Gretel Royal Albert Hall How frightening an opera is Humperdinck’s Hänsel und Gretel, or how frightening should it be? The answer to the first question, if one had only encountered Hänsel at the Prom performance which Glyndebourne brought to London last week, was ‘not at all’. It was given in a semi-staged version,