Royal opera house

Debussy’s description of the music of Parsifal as being ‘lit up from behind’ is famous; less so is Wagner’s own remark to Cosima that in his last music drama he was trying to get ‘the effect of clouds merging and separating’. The scoring of the music, especially in the outer acts, is so extraordinary that even people who are repelled by the subject matter of Parsifal, such as Nietzsche, are still overwhelmed by its beauty, which uniquely combines sensuousness and spirituality. It’s a beauty that has to cope with and contain a very great deal of pain, more even than Act III of Tristan. Even the quasi-liturgical unison opening bars

There was a time when the term ‘world première’ was not as fashionable as it is these days. Great works simply ‘premièred’, and their artistic status was not diminished by the fact that the opening had not been advertised as a globally significant event. Which is what ‘world première’ implies, even though it is seldom the case. The term has a sensationalistic ring to it, and should therefore be used carefully and sparingly. According to a recent press release, David Dawson’s The Human Seasons is the second of the five ‘world premières’ that the Royal Ballet will perform this season. Fortunately, this new creation deserves global recognition and admiration, for

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 musical performance is so strong. Warner has returned to oversee this revival, which, if memory serves, is little different from the last one, so he still regards Wozzeck as the portrayal of an experiment, with Wozzeck as the guinea pig, and the rest of the cast, with minor exceptions, as his tormenting experimenters. Most of

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 have a first-rate musical performance and a dismally confusing, cluttered, pretentious and conspicuously consuming production by the most fashionable of Continental directors, Stefan Herheim, abetted by the set designs of Philipp Fürhofer and the ideas of his regular dramaturg Alexander Meier-Dörzenbach. The action of Vêpres, which is set in 1282, only makes sense, insofar as

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 perspective…Neuwirth turns this on its head. For the first time, Lulu is allowed to tell her own story…We [the audience] listen and watch but do nothing and so become complicit in her nightly repeated murder.’ How can people talk such nonsense? If Fulljames wants us to leap on to the stage and prevent Lulu’s murder,

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 Trittico as one. Any operatic composer who gets to the stage, as Puccini had, of searching through one play or novel after another, dissatisfied with any subject he is offered, should almost certainly give up. The greatest and most successful either produce operas like cows produce milk, Handel and Donizetti being obvious examples, or have

Jewels is everything a George Balanchine admirer could ask for. The sumptuous triptych, set to scores by Fauré, Stravinsky and Tchaikovsky, is a compendium of what Balanchine’s style is about; each part — Emeralds, Rubies and Diamonds — provides unique insights into the subtleties, signature features and inventiveness that inform the art of the Russian master who fathered American ballet. Yet on these shores Jewels is seldom a sell-out production. Unless, of course, it is danced by the Bolshoi Ballet. Comparisons are odious, but seasoned dance-goers could not help noticing that, on Monday, the Royal Opera House was packed to the brim. The lure of the exotic, the hype of

I went to two of the most familiar operas in the repertoire this week, one in HD from the New York Met, the other at the Royal Opera. Both were given in decent if not, with some exceptions, outstanding performances. The experiences led me to think again about the differences between seeing an opera onstage in a theatre and seeing one ‘live’ in the cinema. Our intermission hostess, Renée Fleming, repeated the usual formula about how there is no substitute for actually being present in the theatre where the opera is taking place, but I wonder what she would say if challenged on that point. There is a question of