There are two places in Le Nozze di Figaro where the music undergoes a brief but potent change, which indicates how much deeper the undercurrents are than the busy actions we are witnessing. If either of these is short-changed or mismanaged, the whole work is rendered less moving and serious than it really is. The
In the late 1970s the Royal Opera announced that it would be performing Berlioz’s Les Troyens and Wagner’s Ring in alternate years, the idea being that the two great 19th-century operatic epics would prove equally popular. We never found out whether they would have done, since while the Ring cycles continued, Les Troyens never got
This week’s opera-going afforded one example of truly great art, and one of its plausible counterfeit. To deal with the latter first: no one can deny that Billy Budd is one of Britten’s most accomplished pieces, a virtuoso exercise in the use of large orchestral forces, and in restriction to male post-pubescent singers. And musically
Welsh National Opera’s new production of La Bohème, which I saw last week in Birmingham, is striking in a variety of ways, but its outstanding feature is the conducting of Carlo Rizzi. One tends to think that of all operas Bohème can look after itself, and up to a point that is true. Bashed out
It struck me for the first time at the latest revival of David McVicar’s production of Richard Strauss’s Salome that this opera, Strauss’s first to maintain a place in the repertory, and its successor Elektra are, for all their differences, companion pieces. Even before reading the late Patrick O’Connor’s excellent article ‘Happy Families’, the best
English Touring Opera ended its spring tour in Cambridge this year with three performances of The Barber of Seville and two of Eugene Onegin, both in English translation, the former done without surtitles, the latter with. Neither of them really needed them, since the Arts Theatre is small and most of the singers enunciated with
It’s taken me a shockingly long time to realise how great Verdi’s Falstaff is, and I still wouldn’t agree that it is his greatest opera, which fully paid-up Verdians tend to think. It may be a measure of my progress, though, that I got a lot of pleasure out of the new production at Covent
Opera North’s latest and most ambitious outreach project is a new production of Rodgers and Hammerstein’s Carousel, which will end its tour with a month’s run from mid-August at the Barbican. The second performance in the Grand Theatre Leeds went down very well, and I’m sure that the whole run will be a great success.
Pharmaceutical considerations were uppermost in my mind as I made my way to the Barbican Hall for Philip Glass’s Einstein on the Beach, a production which began touring in Michigan in January and ends in Hong Kong next March. I imagine that marijuana is probably the best preparation and accompaniment for seeing it, but that
The new production of Wagner’s first indisputable masterpiece The Flying Dutchman by English National Opera is a decided success, the best account of what contemporary producers make strangely heavy weather of that I have seen in decades. For some reason they find it hard to focus on the title role, and make it all a
Weber’s Der Freischütz is the finest neglected opera in or hovering on the edge of the canon. It’s not entirely bewildering why it should be, but there are ways of coping with structural defects, which is what it suffers from. Yet I don’t think there has been a UK performance of it since Edinburgh in
Considering how close, if mysterious, the links are between being gay and loving opera, it could seem surprising that there are almost no operas explicitly on gay subjects. Many of Britten’s operas heave with homoerotic subtexts, but his only opera to come out is his last, Death in Venice, and that’s paedophiliac. Tippett, always wackier
Lightning struck, after what must surely be one of the most dreary seasons at the Royal Opera, with a revival of Rigoletto. You never know. I haven’t been an admirer of John Eliot Gardiner, either in the pre-classical repertoire in which he made his name, or in his excursions into more recent orchestral and operatic
Of all the operatic ventures that have sprung up in England in the past 20 years, Birmingham Opera Company may well be the most remarkable. Its artistic director is Graham Vick, who is well acquainted with opera at its most elitist — he was artistic director of Glyndebourne from 1994 to 2000. BOC is at
‘Praising! That’s it!’ Rilke exclaims in one of his ecstatic Sonnets to Orpheus. It seems to be an unconditional injunction, but he hadn’t tried being an opera critic, and I’d like to see anyone even try plausibly to praise either of the two productions I saw this week. One was new and absolutely terrible, the
Judith Weir’s Miss Fortune, whose UK première was at the Royal Opera last week, has received the severest critical panning I can recall for any new opera. It is no masterpiece, but I wonder why it has been rounded on when so many new — not to mention old — pieces with no more going
Tristan und Isolde is a perfect opera, but where are the perfect performers and, just as important, the perfect listeners to do it justice? What very often happens to me in a fine performance is that I am wholly caught up in the drama of Act I, which, for all its revolutionary musical means, is
There can be no doubting the nobility of John Adams’s intentions in writing The Death of Klinghoffer to a text by Alice Goodman, nor ENO’s courage in putting it on, though they do have a captive audience for minimalist and near-minimalist operas. The work is conceived, as all commentaries tirelessly tell us, in the spirit
‘A masterpiece comparable with the last great plays of Shakespeare’, ‘a veritable turbocharged dynamic of music’, ‘a cliffhanger’, ‘a rollercoaster of a drama’ — which opera deserves these and many more ecstatic epithets? They all occur in the brief programme notes to last week’s concert performance at the Barbican of Mozart’s La Clemenza di Tito,
A few weeks ago I was speculating anxiously on the possibility that even the greatest masterpieces, in opera or other art forms, might be exhaustible, or that anyway I might not be able to find anything fresh in them, and therefore might succumb either to a state of mild boredom, or else, like some critics,
