Les Contes d’Hoffmann Royal Opera Der fliegende Holländer Barbican Astonished delight was the first reaction, of everyone, I think, at the Royal Opera’s latest revival of John Schlesinger’s production of Offenbach’s Les Contes d’Hoffmann: astonishment that Rolando Villazón seems not only to have overcome his vocal and possibly other crises, but to be, in all
Hänsel und Gretel Royal Academy of Music Jenufa Birmingham Hippodrome Pelléas et Mélisande Sadler’s Wells Humperdinck’s Hänsel und Gretel loses none of its charm with repeated viewings, a good thing since there are plenty of productions of it around this year in the UK, the latest being at the Royal Academy of Music. I saw
Boris Godunov English National Opera La rencontre imprévue Guildhall School of Music and Drama The new production of Musorgsky’s most important work Boris Godunov, at English National Opera, raises more questions than it answers. It is an impressive achievement, showing a seriousness of commitment to the work on the part of everyone involved, and yet
Elektra Royal Opera House For You Linbury Studio The revival at the Royal Opera of Strauss’s Elektra in the production by Charles Edwards, who is also responsible for the sets and lighting, is so drastically modified from 2003 as to amount to a fresh start on the piece. It is still modernised, set in a
I Capuleti e i Montecchi Of Thee I Sing Opera North, Leeds Slightly perversely, Opera North has been running a series of ‘Shakespeare operas’ ending with Bellini’s I Capuleti e i Montecchi, which means that the programme book consists largely of articles explaining that the story doesn’t derive from Shakespeare at all. So what? I
Matilde di Shabran Royal Opera House Aida English National Opera Iolanta Royal Festival Hall Matilde di Shabran is one of Rossini’s least performed operas, and having seen the Royal Opera’s production, which derives from the Pesaro festival of 2004, I understand why. Broadly speaking, it is a comedy without jokes or other humour, and in
The Burial at Thebes The Globe Walton double bill Linbury Studio, Royal Opera House What is our best chance of experiencing Greek tragedies as works that are alive and life-giving, as we can sometimes experience Shakespeare? I’m taking it that we don’t understand Greek, but there are major problems even for those who do. Seamus
Partenope English National Opera In his introduction to Handel’s Partenope in the programme book of ENO’s new production, John Berry, artistic director of the company, writes: ‘Partenope is full of wonderful music and a perfect vehicle for the gifted director Christopher Alden.’ We see where the priorities are — some dead metaphors are quite interesting,
Cavalleria rusticana & I Pagliacci English National Opera Don Giovanni Royal Opera Cavalleria rusticana and I Pagliacci tend to be regarded by opera buffs as a couple of blowsy old tarts, still plying their trade long after they could plausibly expect any decent customers, and only to be contemplated or tolerated if they are wearing
La Calisto Royal Opera House Tosca Opera North, Leeds It’s not often that you find the Royal Opera going as far back as the 17th century, no doubt for the good reason that operas written then are not suitable for performance in such large houses. That hasn’t daunted the director David Alden, who, together with
Otello Welsh National Opera, Cardiff La fanciulla del West Royal Opera House Otello, for me the most perfect though not the greatest of Verdi’s operas, continues Welsh National Opera’s survey of his late works, in a new production by Paul Curran. The first night was a much tamer affair than it should have been, though
Don Giovanni Royal Opera House La Rondine Peacock Theatre This latest revival, for which the opening night received a great deal of publicity, and which began with Tony Hall, the Royal Opera’s chief executive, welcoming Sun readers and bidding them to come again — but at what price? — sported as distinguished a cast as
Saint François d’Assise Royal Albert Hall As the climax of the Proms centenary of Messiaen, The Netherlands Opera brought his vast opera Saint François d’Assise to a sadly uncrowded Royal Albert Hall. And by Act III there was room for the prommers to lie in the arena as if they were fellow recipients of the
Love and Other Demons Glyndebourne I only caught up with Glyndebourne’s newly commissioned opera at its penultimate performance. It was a courageous thing to put on a work by a composer as little known in this country as Peter Eötvös, and was rewarded at the seventh performance with a respectably full house. It isn’t a
King Idomeneo Birmingham Osud Royal Albert Hall Last year Birmingham Opera Company imported La traviata from Verona, and performed it to huge and enthusiastic audiences. Result: the Arts Council, in its infinite malignant imbecility, axed its grant, along with that of many other institutions which survive on an annual budget that would keep one of
West Side Story Sadler’s Wells Tête à Tête Riverside Studios, Hammersmith West Side Story is just over half a century old, and unlike most famous musicals of its period, or any other, it doesn’t just get ‘revived’ every now and then, it is very much in the repertory — but of what? There’s hardly such
Rise and Fall of the City of Mahagonny Usher Hall Ysaye Quartet Queen’s Hall The Two Widows Edinburgh Festival Theatre The Edinburgh International Festival got off to a soggy start this year. The Usher Hall, where as always the opening concert took place, is heavily shrouded, while Stage Two of a renovation process which will
L’Incoronazione di Poppea The Proms Glyndebourne’s visits to the Proms are usually highly successful, which can seem odd considering that the home auditorium is so comparatively intimate, not to mention comfortable and air-conditioned, with fantastically good acoustics; while the Albert Hall is celebrated for its large-scale lack of any of those qualities. And Monteverdi’s last
La Gioconda; Pulcinella; Iolanta Opera Holland Park On a hot fine evening in London there can’t be anywhere more delightful for an opera-lover than Opera Holland Park, which is now so comfortable, and has such high standards of performance, that to see a rarely performed work there is in all respects at least as enjoyable
Hansel und Gretel Glyndebourne La bohème Royal Opera House The two operas I saw last week were premièred just over two years apart, Humperdinck’s Hansel und Gretel at Christmas 1893, Puccini’s La Bohème in February 1896. Both of them deal with deprivation and poverty and very different life-destroying forces, and ways of coping with them.