Culture

Is there a fundamental, insuperable problem with staging Rossini’s Guillaume Tell on a budget, without the resources to conjure up the sense of scale that was part of grand opéra’s appeal and raison d’être? Take away the special effects, whip away the phantasmagorical curtain, and, as with any Hollywood blockbuster, you are left with a

I wonder whether grand opéra really takes war as seriously as this year’s Edinburgh Festival wanted it to. These vast works, written to exploit and reflect the power, resources and tastes of mid-19th-century Paris, tended to favour history and its battles for the scenic opportunities they afforded rather than for the lessons they taught. It

Perhaps I should come clean straightaway and admit that, despite the fact that OperaUpClose is about to celebrate its fifth birthday, I’d never been to see one of its shows before last week. This has not been a conscious decision; maybe, though, I’d been unconsciously put off by the company’s early braggadocio — by the

During my opera-going lifetime the most sensational change in the repertoire has, of course, been the immense expansion of the baroque repertoire, with Monteverdi, Rameau and above all Handel being not only revived but also seen now as mainstays in most opera houses. To think that only 50 years ago it was regarded as daring

The Salzburg Festival’s reputation might largely be one of cultural conservatism, but it made an impressive commitment to new works when it announced in 2011 that it had commissioned four operas, to be unveiled at the rate of one a year between 2013 and 2016. The first was to have been by György Kurtág, but

Rather than brave the boos and the first reprise of Frank Castorf’s half-hearted Ring at Bayreuth, I decided to pay a visit to Munich and catch the last two days of its annual opera festival. Less of a festival, as one usually understands the term, than a ramping-up of activity in the final month or

Seventeen years ago the Norwegian National Opera staged two cycles of the Ring in Norwich’s Theatre Royal, performances that have remained vividly in the minds of anyone who saw them. Now Theater Freiburg has visited Norwich with two performances each of Parsifal and Tannhäuser. I was hoping to see both, but transport problems meant that

One of the highlights of last year’s Glyndebourne Festival was the revival of Richard Jones’s Falstaff, spruced up and invigorated by Mark Elder’s conducting of the Orchestra of the Age of Enlightenment and a beautifully balanced cast. Elder is also in charge again for the festival’s third new production of this year, Tom Cairns’s La

Dvorak’s The Jacobin and Gluck’s Orfeo ed Euridice, the two operas that opened this year’s Buxton Festival, are both relative rarities today, but their creators’ fortunes tell an interesting story. Dvorak’s operas — or at least Rusalka — joined the repertoire around the same time, during the 1980s, that Gluck’s arguably starting slipping from the

London is lucky to have heard Joyce DiDonato at the height of her powers in two consecutive seasons. The American mezzo has arguably done less well out of the arrangement, however, finding herself at the centre of two disappointing new productions. Last year it was Rossini’s La Donna del Lago, an intractable non-drama which John

It seems a very short time since I interviewed Richard Farnes about Opera North’s planned Ring cycle, the dramas to be done one a year, semi-staged in an idiosyncratic way. In fact, it is four years, and now the complete cycle has been performed to universal acclaim, with the loudest cheers going to the conducting

This season has already seen Manon Lescaut appear in several different operatic guises across the UK, but it was Covent Garden’s new production of Puccini’s version (its first staging of it in three decades) that was the hottest ticket of all. The Latvian soprano Kristine Opolais and the superstar tenor Jonas Kaufmann were tackling the

To suggest that the ageing Jules Massenet identified himself with the title character of his Don Quichotte is nothing new — and late works such as this by definition encourage biographical interpretations. One of the main liberties of the opera, premièred in 1910 and very loosely based (via a contemporary verse play) on Cervantes, was

Operas about artists are not rare. However — perhaps for obvious reasons — those artists tend to be musicians, singers, or at least performers, able to persuade and cajole both us in the audience and the other characters on stage through their eloquence. Berlioz, in his first opera, presents the renaissance sculptor Benvenuto Cellini, in

Poulenc’s Dialogues des Carmélites is an audacious work, much more so than many others that advertise their audacity. It deals with Love and Death, the central topics of opera, but the love is that of God; and death, rather than being a romantic consummation or a stirring tragedy, is something to be terrified of. The

On paper, Moses und Aron might seem intractable and abstract: a 12-tone score setting a libretto that meditates on God, faith, the essential inadequacy of language to express the ineffable, and a great deal more. Put it in the theatre, as Welsh National Opera has done as the first part of its ‘Faith’ mini-season, and

In all its minute details, Der Rosenkavalier is rooted in a painstakingly stylised version of Rococo Vienna that, paradoxically, is further fixed in a web of cannily juxtaposed anachronisms. Upset their balance and you risk upsetting the balance of the whole piece. That’s no bad thing, of course, but Richard Jones’s bold new production for

Purists might have winced at Opera North’s advertisement for its latest revival of La Bohème. ‘If you see one musical this year,’ it said, ‘see this opera.’ Such rhetoric might invite unhelpful discussion of the relative merits of each genre, but it also reflects the fact that this show is a refreshing, unfusty treat. Phyllida

I had high hopes for Julian Anderson’s first opera, Thebans. Premièred at the Coliseum last Saturday, it promised to mark a departure from the trendiness of ENO’s recent commissions, Nico Muhly’s Two Boys, for example, or the dreadful Sunken Garden — in fact, ENO’s next season seems to reflect a company at last a little

Within the space of a few weeks we have had the rare chance of seeing the two great torsos of Russian opera, Borodin’s Prince Igor, unfinished because the composer was often otherwise engaged, and Musorgsky’s Khovanshchina, unfinished because its composer died of drink. Prince Igor at the Coliseum was musically magnificent, and dramatically utterly absurd,

One of the proudest boasts to come from Britten HQ in Aldeburgh during the composer’s anniversary last year was that performances of his works were proliferating across the globe — and not just in the UK — as never before. If the Opéra de Lyon might be a little late to the anniversary party in

There’s a great deal to disapprove of in Gounod’s Faust. It breaks down a pillar of western literature and whisks up what remains into a flouncy French fancy. It turns the hero’s famous striving into mere lust — for a virginal heroine who is cursed by one and all (‘Marguerite! Sois maudite!’, runs the rather-too-catchy

I remain puzzled that, so far as I know, no daily or weekly paper carries reviews of the New York Met opera relays (I’m not a denizen of the blogosphere, where they may well swarm). To judge from the number of cinemas that show these live relays, and from how crowded most of them are,

Opera seems almost always to have been acutely concerned with its own future. These days this is most often manifested in occasionally desperate, sometimes patronising attempts to entice new audiences to the art form. A new three-way initiative between Aldeburgh Music, the Royal Opera and Opera North takes a different tack by enabling a new

If ever an opera was weighed down by its creators’ joint ambition, it is Die Frau ohne Schatten. Richard Strauss and his librettist Hugo von Hofmannsthal quickly began to imagine their third true collaboration, produced during the 1910s but not premièred until 1919, as their masterpiece. But it turned into a complex and unwieldy embarrassment

Opera’s grim fascination with ‘fallen women’ — as Welsh National Opera has called its latest mini-season — lies largely in the spectacle of the fall itself. But in Hans Werner Henze’s Boulevard Solitude, the composer’s 1952 operatic debut, the heroine — a tart denied even a heart — starts off near the bottom; her fall