Last week Darren Henley, chief executive of Arts Council England, revealed that opera receives just under a fifth of the Arts Council’s total investment in our arts organisations, which amounts to many millions of pounds. Yet it accounts for ‘between 3 and 4 per cent of live audiences in theatres’. How can these figures possibly
‘Forget Downton Abbey!’ exhorts David Pountney in the programme for Figaro Forever, Welsh National Opera’s season of Beaumarchais operas, The Barber of Seville, The Marriage of Figaro and Elena Langer’s Figaro Gets a Divorce. ‘A televisual age in which the vast narrative panorama of a “series” strung out across many episodes seems to capture people’s
Centre stage, there’s an industrial-looking black platform, secured by cables. The Three Ladies snap the unconscious Tamino on a mobile phone. The Three Boys look like Gollum in a fright wig. And Papageno, dressed as an ageing vagrant, simulates urination (at least I hope that’s what it was) into an empty wine bottle. Simon McBurney’s
It’s widely agreed that the most difficult form of opera to bring off is operetta, whether of the Austro-German or the French tradition — interesting that the Italians wisely eschew the genre (so far as I know), while the British stay with G&S and their inviolable traditions, including the audience’s laughing in all the right
Opera North continues to be the most reliable, inspiring, resourceful and enterprising opera company in the United Kingdom, and all that without taking account of its extremely limited budget. From April through July it will be presenting its remarkable interpretation of Wagner’s Ring cycle in various cities, including London, so it may not be surprising
There are some operas, as there are some people, that it is impossible to establish a settled relationship with, and in my case Debussy’s Pelléas et Mélisande is one of them, in fact by far the most pressing one. I never know in advance how I’m going to react to it, and to some extent
It’s scene five of Kasper Holten’s production of Tchaikovsky’s Eugene Onegin and Michael Fabiano’s Lensky is alone with a snow-covered branch and his thoughts. Well, not quite alone. At the other side of the stage stands the man he is about to face in a duel: his friend Onegin, who’s apparently arrived ahead of the
How often do you get a chance to see two operas by Leoncavallo in the same city in the same week? Never, until this last week in London, when Opera Rara gave a concert performance of Zazà at the Barbican, and six days later the Royal Opera mounted its first production since the 1980s of
About 15 minutes into act one of Jenufa, the student in the next seat leaned over to her companions and whispered, ‘They’re singing in English!’ And so they were, in Otakar Kraus and Edward Downes’s translation. Janacek was obsessed with the shapes and intonations of speech; for a non-Czech speaker, a first-rate singing translation is
Time was when early music was a 6 p.m. concert, Baroque began with Bach and ended with Corelli’s Christmas Concerto, and speeds were so portentously slow that you’d have to start the B Minor Mass shortly after lunch in order to make it home in time for bed. Those dark days — caught between Baroque
The Royal Opera House seemed nervous about Georg Friedrich Haas’s world première Morgen und Abend. They sent out a pdf of the libretto in advance, which they only ever do when they think that the words or the plot are unintelligible. Thrilled to report that it was a double whammy. An introductory soliloquy was spoken
The Force of Destiny, ENO’s latest offering to its ‘stakeholders’, as its audiences are now called thanks to Cressida Pollock, the new CEO, is perhaps Verdi’s most interesting failure. It’s an opera with too much fine, even magnificent, music to be neglected, but it doesn’t add up to a satisfactory experience. Even epics, which Force
Chords as bright and sweet as pomegranate seeds burst and spill in Turandot, a splinter of bitterness at their centre. Left incomplete at Puccini’s death in 1924, the opera is his most radical and most cruel. You can taste something of Stravinsky’s Rite of Spring in the instrumentation, a musky roughness that rubs against the
It’s Halloween, and right on lightning-flash cue enters an operatic ghost story exhumed from the grave of long-since-buried works. You couldn’t hope for more discerning grave-robbers than Wexford Festival Opera, however, who have long made it their mission to bring forgotten operas back to life. Mascagni’s Guglielmo Ratcliff is a proper blood-on-the-tartan gothic thriller, all
There are some things the French do better than everyone else. Cheese, military defeats and extra-marital affairs are a given, but what about opera? English Touring Opera’s autumn tour sets out a tasting plate of the nation’s Romantic finest, hoping to persuade audiences that there’s more to France than just Carmen. Debussy’s delicate tragedy Pelléas
‘Oh, those Greeks! They knew how to live. What is required for that is to stop courageously at the surface, the fold, the skin, to adore appearance… Those Greeks were superficial — out of profundity [Nietzsche’s own italics].’ Thus said Nietzsche in the preface to The Gay Science. I expect Richard Strauss knew the passage.
Opera North’s new production of Cole Porter’s masterwork Kiss Me, Kate has been so widely and justly praised that I wonder whether there is much for a week-later reviewer to add. It’s not as if the work needs much exegesis or critical commentary, though it may be worth pointing out that what we hear in
‘Kiss me, Sergei! Kiss me hard! Kiss me until the icons fall and split!’ sings Katerina Ismailova, adulterous antiheroine of Lady Macbeth of Mtsensk. Stalin was not amused by Shostakovich’s bleak black comedy but our culture would be poorer without bored wives like Katerina. Perhaps all that Emma Bovary, Anna Karenina and Laura Jesson needed
Is there a more extraordinary, more heart-stilling moment in all opera than the finale of Mozart’s The Marriage of Figaro? The Count, suddenly understanding his wife’s fidelity, begs her forgiveness — ‘Contessa perdono!’ Her answer comes like a musical benediction, but not until after the very slightest pause — space to doubt, to hope. It’s
Bellini belongs to that category of not-quite-great operatic composers whose works are also very difficult to perform adequately, and don’t seem to be all that popular when they are. But Welsh National Opera’s theme for the season of Madness means that as one of the leading exponents of operatic insanity Bellini is bound to turn
