It’s been a good couple of weeks for cuddly toys in opera. A big floppy Eeyore is the only comfort for 11-year-old Coraline at the darkest moment of Mark-Anthony Turnage and Rory Mullarkey’s new opera. The teenage Composer in Antony McDonald’s production of Ariadne auf Naxos has a Beanie Baby panda as a sort of mascot: a tiny, limp emotional defence against a world that’s about to spin deliriously off kilter. Hansel and Gretel don’t have any toys, but the brattish siblings of Stephen Medcalf’s staging at the Royal Northern College of Music can at least cling to each other as the night closes in. Interestingly, the opera that came across as the most harmless was the only one that wasn’t created for children.
Ariadne auf Naxos, then. McDonald has updated it to a country house that looks amusingly like Glyndebourne. Neat idea; and so is the notion of transforming the commedia dell’arte troupe into a team of hipster-bearded performance artists.
Comments
Join the debate for just $5 for 3 months
Be part of the conversation with other Spectator readers by getting your first three months for $5.
UNLOCK ACCESS Just $5 for 3 monthsAlready a subscriber? Log in