Anyone who thinks they have experienced absolute boredom, or even doubts that such a state can exist, should go to Glyndebourne’s first offering of the season, Cavalli’s Hipermestra. The first two acts, played without any break, last for 130 minutes, the third for a mere hour. The audience broke into its normal rapturous applause at
When a composer begins an opera, they create a world. You don’t need a full-scale overture: the tear-stained violins that Verdi drapes over the opening bars of La traviata do the job perfectly. The orgasmic upswing that launches Der Rosenkavalier, the cosmic hum that sets the Ring on its course — those very first notes
English Touring Opera is playing safe this spring, with Tosca and Patience, and was rewarded, in Cambridge at least, with full houses. Its Tosca has been moderately reviewed, and that is about what it deserves. There is only one set, designed primarily with the tableau of chorus and soloists at the end of Act One
Some opera-lovers prefer concert performances to full stagings. I don’t. It’s that whole Gesamtkunstwerk thing: opera needs to be seen as well as heard. There’ll always be circumstances in which concert performances are welcome — to rescue a neglected score, say, or if a symphony orchestra wants to stretch itself. But when a major company
The Adèsives were out in force at Covent Garden last Monday for the UK première of their hero’s third opera, The Exterminating Angel, unable to contain their rapture until the piece was over, yelling their excitement even at the interval. Thomas Adès’s opera is closely based on Buñuel’s film of 1962, with the text adapted
Monteverdi 450 — the Monteverdi Choir and English Baroque Soloists’ tour of his three operas to 33 cities across two continents — began with his penultimate work Il ritorno d’Ulisse in patria, at Bristol’s Colston Hall. It was a marvellous occasion, uplifting and entertaining. I hadn’t been to the Colston Hall before, and was most
The English weren’t the first cowpat composers. Jean-Philippe Rameau raised the art of frolicking in the fields to such heights he filched pastoralism for the French. Rameau’s mastery of landscape is not just a question of orchestral colour, though that’s a large part of it — those goaty oboes, lowing bassoons, cooing flutes transport you
As we waited for curtain-up on Scottish Opera’s new production of Bartok’s Bluebeard’s Castle a member of staff walked out on stage. Don’t worry, he reassured us, he wasn’t about to announce that a member of the cast was indisposed. Nervous laughter from the auditorium. Still in the same matter-of-fact tone, he carried on, and
Opera is littered with the bodies of abandoned women. Step over Dido and Gilda, and you’ll still stumble into Donna Elvira, Euridice, Elisabeth, Ariadne, Alcina. The list goes on. Pop music might have ‘50 Ways to Leave Your Lover’, but opera has 500. Call it chauvinism or voyeurism if you like, but opera’s women are
Ceci n’est pas une Partenope. Forget the warring classical kingdoms of Naples and Cumae: this is surrealist Paris in the 1930s and imminent invasion is the stuff of conversational parenthesis, barely worth interrupting a rubber of bridge for, let alone an embrace. Man Ray, Lee Miller and their androgynous associates slink and affect their way
I don’t think that I have left a theatre many times feeling as depressed and irritated as after the Royal Opera’s Die Meistersinger, in the new production by Kasper Holten. The run of the Royal Opera’s recent productions of Wagner — appalling Tristans, a dire succession of Parsifals, mediocre Rings — hadn’t prepared me for
‘Perhaps in this world nothing ever happens without purpose,’ sings old, blind King Arkel in Debussy’s Pelléas et Mélisande, and that at least is something to hold on to. God knows, you need it. Peel away the fairy-tale trappings of Maeterlinck’s original play, and the world of this opera is profoundly cruel. Its characters are
Why set a supremely great play to music? The Winter’s Tale, the play of Shakespeare’s that I love most, has much of his most beautiful and intelligent poetry, as well as some of his most condensed and puzzling lines. Ryan Wigglesworth, in several of the innumerable interviews about his new opera, says he has been
Frank Martin is one of those composers whose work seems to survive only by virtue of constantly renewed neglect. His quite large body of work is well represented in the CD catalogues, but rarely performed in the UK. One of his most powerful works is Le Vin herbé, though his fully-fledged opera on The Tempest
The story so far: in 1986 English National Opera hired Jonathan Miller to direct Gilbert and Sullivan’s The Mikado. The result was so fresh and funny that it’s been a mainstay of the ENO schedule for more than three decades, to the indignation of hardcore opera fans who can’t understand why audiences keep flocking to
Fully to enjoy Opera North’s new production of Humperdinck’s Hansel and Gretel you need to take a trinocular perspective on it, but you can enjoy it a lot anyway. You could be mystified, if you don’t know the story, by the setting and action, as indeed I was some of the time despite having recently
Kids: who’d have them? Certainly no one who has ever been to the opera. If they’re not murdering you, they’re betraying you, defying orders or throwing themselves into the arms of the nearest unsuitable suitor. What happens when that suitor is a god, or — god forbid — their own brother or sister? Answers came
Rimsky-Korsakov’s The Snow Maiden has not received a professional staging in the UK for 60 years. Think about that for a moment, and what it says about British operatic priorities. Sixty years of Massenet and early Verdi, of Manon Lescaut and Donizetti ‘rediscoveries’. Not that those aren’t worth having, as part of a healthy and
The Barbican website warns us that Ligeti’s opera Le grand macabre ‘contains very strong language and adult themes’. The strong language consists of the four-letter words that are known to everyone and used by most people, and the adult themes are sex/love and death, which this opera has in common with almost any non-comic opera
In Joseph Roth’s The Radetzky March, the ageing Emperor Franz Joseph regrets the drab field-grey that has replaced his army’s once-colourful uniforms, seeing in it a premonition of an empire — a world — soon to be defeated and broken up. Franz Joseph is present in Act One of Robert Carsen’s new production of Der
