The opera director David Alden has never been one to tread the straight and narrow. Something kinky would emerge, I’m sure, even if he directed the Queen’s televised Christmas message. So matching him up at English National Opera with the madness, obsessions and phantasmagoria of Tchaikovsky’s whirring and troubling The Queen of Spades was simply
It’s been a busy operatic week, with a nearly great concert performance of Parsifal in Birmingham on Sunday (reviewed by Anna Picard in last week’s Spectator), Carmen at the Coliseum on Wednesday, Donizetti’s Poliuto at Glyndebourne on Thursday and Carmen, also at Glyndebourne, on Saturday. A trajectory that Nietzsche would have approved of, moving from
In Beryl Bainbridge’s novel An Awfully Big Adventure the producer Meredith Potter issues a doughty injunction on the subject of staging Peter Pan: ‘I am not qualified to judge whether the grief his mother felt on the death of his elder brother had an adverse effect on Mr Barrie’s emotional development, nor do I care
Forget the pollsters and political pundits — English National Opera called it first and called it Right when it programmed Gilbert and Sullivan’s The Pirates of Penzance to open just days after the general election. Who else is the target audience for an operetta that guilelessly proclaims, ‘We love our House of Peers’, and celebrates
‘What gives your lies such power?’ asks the bewildered Sicilian leader in Szymanowski’s opera Krol Roger. The question is addressed to a charismatic shepherd, on trial for propagating a lascivious new religion of unbridled sensuality. Roger’s wife, Roxana, has already converted along with many of his subjects, while the city’s conservative and clerical factions clamour
Three staples of the Italian repertoire, performed and seen in very different circumstances, have confirmed my view that they deserve their place in the repertoire, however many other works by their composers or contemporaries may be unearthed. I saw OperaUpClose’s version of Donizetti’s The Elixir of Love in the Mumford Theatre Cambridge, an underused venue
Big slats of orange, burning yellows, an Adriatic in electric blue: I wish I’d bought my sunglasses to the Royal Opera’s latest revival of Il turco in Italia. Moshe Leiser and Patrice Caurier’s production of Rossini’s opera buffo first burst on to the Covent Garden stage in 2005, and its shrieking colours haven’t dimmed with
This week, some 200 years since Goya’s ‘The Disasters of War’, almost 80 years after Picasso’s ‘Guernica’, and over 50 since Malcolm Browne won a Pulitzer for his photograph of a self-immolating Buddhist monk, the British media found itself questioning whether art should, or even could, ever represent the horrors of recent history. It was
The Ice Break is Michael Tippett’s fourth opera, first produced at Covent Garden in 1977 and rarely produced anywhere since, though there is an excellent recording of it. Its brevity (75 minutes) rather took the wind out of the Royal Opera’s sails, since they had envisaged a full evening’s piece. So, I imagine, did its
Before the jukebox musical, back when Mamma Mia!, Jersey Boys and Viva Forever! were still dollar-shaped glints in an as-yet-unborn producer’s eye, there was the pasticcio opera. Literally a musical ‘pastry’ or ‘pie’, these brought together arias from different operas, often by different composers, in a single work, designed as a way of feeding an
Brecht/Weill’s Rise and Fall of the City of Mahagonny was premièred in 1930, Auden/Stravinsky’s The Rake’s Progress in 1951. Twenty-one years separate them, but it seems, as one looks back, enormously more than that. Think of 1994 and now, no time at all, and not only for an ageing opera reviewer. Both works tend to
Charles Lutwidge Dodgson loved little girls. He loved to tell them stories, he loved to feed them jam, he loved to set them puzzles, and he loved to take their photographs. On 25 March, 1863, he composed a list of 107 prepubescent portrait subjects, arranged alphabetically by forename. Below the Agneses came the Alices, including
When is an opera not an opera? How much can you strip and peel away, or extend and graft on to the genre, before it simply ceases to be itself? These questions dominated a week in which directors turned vivisectors for new productions — reimaginings — of Purcell’s Indian Queen (ENO) and Mozart’s Don Giovanni
Is there a more beautiful aria than ‘O mio babbino caro’ from Puccini’s Gianni Schicchi? There are more overwhelming moments in opera, to be sure, but few arias can rival it for the way its beauty kicks you in the back of the knees; its gentle rocking motion causes your shoulders to slump while the
La Donna del Lago, based on a poem by Sir Walter Scott, is one of the nine serious, dramatic operas that Rossini wrote for Teatro San Carlo in Naples between 1815 and 1822. At the time the opera was produced he had at his disposal not only a great soprano, for whom he wrote with
ENO’s new production of Wagner’s The Mastersingers of Nuremberg is a triumph about which only the most niggling of reservations can be set. Every aspect — orchestral, vocal, production — works in harmony to effect one of the richest, most intensely absorbing, energising and delightful afternoons and evenings I have ever spent in the theatre.
It’s easy to forget what a mess of an art form opera once was. For its first 100 years it had no name, it had no fixed address, it didn’t really know who it was or what it was doing. You’d find it at schools, at weddings, at political functions. It was an artistic whore
In one of the more peculiar concerts that I have been to at the Royal Festival Hall, Vladimir Jurowski conducted excerpts from Das Rheingold in the first half of the programme, and Rachmaninov’s little-known opera The Miserly Knight in the second half. The idea, I gleaned from a pre-concert chat by the conductor and others,
Who on earth could have predicted that a hoary old operatic melodrama set in revolutionary France would find resonance in the present where the pen as a weapon against bigotry and hypocrisy has suddenly achieved iconic status. But hold up, let’s not get carried away. We’re talking about Giordano’s Andrea Chénier. Though its eponymous poet
What a week to stage an opera about art’s power to challenge institutional authority, oppression — even death itself. Orfeo’s weapon might be a lyre rather than a pen, but the metaphor is silhouetted clearly against the monochrome backdrop of the Royal Opera’s new production of Monteverdi’s opera. Director Michael Boyd, former artistic director of
