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
When Keith Warner’s production of Berg’s Wozzeck was first produced at the Royal Opera, nine years ago, it made me more angry than any that I had ever seen. At its first revival in 2006, my response was milder, though still outraged. Now, on its third outing, I mind it even less, partly because the
This week chanced to give me a fascinating study in contrasts and comparisons: Mark-Anthony Turnage’s Greek at the Linbury Studio, Britten’s Death in Venice at the Grand Theatre Leeds. Two English operas from the latter half of the 20th century, both with mythological undertones and overtones, one of them the noisy announcement of his presence
Verdi’s Les vêpres siciliennes is his least performed mature opera, even in its more familiar version as I vespri siciliani. So mounting it with a top-ranking cast and an interesting production is just what the Royal Opera should do in a so far seriously under-celebrated Verdi bicentenary year. What has actually happened is that we
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
Johann Strauss’s Die Fledermaus (but if it’s given in English, why not The Bat? Does that somehow sound too unglamorous?) is not only the greatest operetta ever composed, as everyone agrees, but also, in my view, a great work, to be ranked with the finest comedies in any genre. That is, beneath its featherbrained hedonism
It’s been a sensational week for opera in London, with a sensationally good performance of Strauss’s Elektra at the Royal Opera, and a sensationally terrible production of Fidelio at English National Opera. Charles Edwards’s production of Elektra is revived for the second time, but this is quite the finest account of it, thanks above all
Why would anyone want to adapt Berg’s Lulu, a masterpiece even if a problematic one? According to John Fulljames, who is the producer of the version of Lulu that Olga Neuwirth has come up with, ‘the Lulu plays now stand neutered within the familiar history of male authored texts which define women from a male
It’s a cynical start to the Royal Opera’s season to have this 1984 production of Puccini’s last opera Turandot. Not that a new production would improve things, whatever it was like. Turandot is an irredeemable work, a terrible end to a career that had included three indisputable masterpieces and three less evident ones, counting Il
The many opera performances at the Proms this year have all been so successful, especially the Wagner series, that I hope it doesn’t require a centenary to include them in future seasons. One of the things that has made them so vivid to the audiences in the Albert Hall has been the immediacy of the
With a tidal wave of Peter Grimeses about to engulf us — performances in London, Birmingham and Leeds in September alone — there is also, from 5 September, the film of the celebrated Peter Grimes on Aldeburgh Beach at more than 80 cinemas in the UK. The film was made in June during the three
The Proms season of Wagner operas — pity they didn’t do them all; Die Meistersinger would have been specially welcome, since no one else is doing it either — concluded appropriately with Parsifal, conducted by Sir Mark Elder. The conducting at all these performances has been remarkably good, but in some respects Elder was the
Arriving for the world première of Stockhausen’s opera Mittwoch aus Licht (Wednesday from Light), we were greeted by the sight of two Bactrian camels, delightful and patient creatures, standing almost immobile for at least an hour while many visitors inspected them, before leaving in Joseph’s Amazing Camels coach. The one we saw later on stage
Whenever Michael Tippett’s first opera, The Midsummer Marriage, is revived, there is a chorus of voices, including mine, complaining that it should be done much more often, for it is a work of exuberant genius, full of wonderful musical invention, and life-affirming in the way that Britten’s operas never are (with, I think, the exception
It would be interesting to know why Tristan und Isolde was placed in the Proms programme in between Siegfried and Götterdämmerung. You might as well programme Othello between acts four and five of King Lear. Wagner wrote Tristan and Die Meistersinger between acts two and three of Siegfried, and to be really chic some company
The first complete performance of Wagner’s Ring cycle at the Proms is already, less than a week after its conclusion, being hailed as historic and will soon be mythic, an appropriate status and designation for this amazing and amazingly great work. Even Radio 3 ‘presenters’ who have music degrees but have always quailed at the
What could be more delightful than going to Gyndebourne with someone who has never been before, arriving in time for a Figaro or Ha-Ha Tea at the Mildmay Hall, taking a stroll round the grounds, which incidentally have been considerably changed this year, and for the better (though the slightly alarming jungle near the opera
Richard Strauss’s operatic swansong Capriccio made an elegant and untaxing conclusion to the Royal Opera’s season. It was done in concert, but there was a fair amount of acting, more from some of the participants than others. Renée Fleming as the Countess, who feels she has to choose between a poet and a composer, wrung
There are no two ways about it: Wagner’s Ring cycle, the biggest challenge that any opera company can face, has been mounted with triumphant success in Longborough, and now presumably has been laid to rest. Nine years ago, at the Cambridge Arts Theatre, I saw the first attempt to stage it, in Jonathan Dove’s drastically
I’m not the first person to remark that Verdi is getting oddly little attention in this his bicentenary year, especially when compared with his contemporary Wagner who, despite the usually much greater demands his works make in almost all respects, is not only receiving plenty of performances, but is also the subject of even more
