Richard Bratby is the chief classical music critic of The Spectator
Scottish Opera’s new production of Britten’s A Midsummer Night’s Dream seems to open in midwinter. Snow falls, fairies hurl snowballs and the aurora borealis flickers and arcs across the darkened sky. Meanwhile Britten’s score swoons and sighs, its drowsy clouds of string tone wafting above gently snoring basses to create an atmosphere whose every glimmer
I think it was when she leaned forward and balanced on one leg that Barbara Hannigan jumped the shark. It wasn’t just a question of physical agility, although that was impressive enough. Hannigan performed her on-the-spot acrobatics while singing; the results were projected on to a big screen by three remote-controlled cameras, which zoomed in
Spoiler alert. The last words in Janacek’s The Cunning Little Vixen come from a child playing a frog. The story has come full circle — there was a frog near the start of Act One, and naturally you assume it’s the same one. But no: ‘That wasn’t me. That was my grandaddy. He used to
London felt like its old self on Friday night. Possibly it was just me; when you visit the capital once a week, your impressions will only ever be snapshots. Still, it’s been a while since I’ve battled such a flood tide of commuters on the ramp at Euston, or since the Royal Opera House seemed
The Royal Opera has come over all baroque. In the Linbury Theatre, they’re hosting Irish National Opera’s production of Vivaldi’s 1735 carnival opera Bajazet; unsurprisingly, its first appearance at Covent Garden. Upstairs in the big room, they’re doing Handel’s Theodora: premièred at Covent Garden in March 1750 and then ignored by the Royal Opera and
To look at a picture of Ralph Vaughan Williams is like contemplating an image of a mountain. Not the elegant, keen-eyed Edwardian intellectual whom we sometimes glimpse on CD sleeves or in concert programmes; I’m thinking of the portraits from the last decade of his long life. By the 1950s ‘RVW’ had been the father
Say what you like about that Duke of Mantua, but he’s basically an OK sort of bloke. A bit of an arse, sure; the kind of TOWIE-adjacent, skinny jean-wearing reality star who’d commission photographic portraits of himself and recruit an entourage of hipsters and B-boy wannabes. But really, his worst crimes are against taste. His
Nabucco, said Giuseppe Verdi, ‘was born under a lucky star’. It was both his last throw of the dice and his first undisputed hit, composed after the failure of Un giorno di regno and the death of his young wife and two children had driven him to abandon music outright. The story (at least, as
Sir Simon Rattle and the London Symphony Orchestra began the year with a world première. Unsuk Chin’s Second Violin Concerto opened with the soloist, Leonidas Kavakos, completely alone in front of a silent orchestra, playing phrases that rocked back and forth until, suddenly, they were striking sparks. As well they might; Kavakos, after all, is
It’s 2022 and classical music is, again, dead. It’d be surprising if it wasn’t. In 2014 the New Yorker published a timeline by the industry analyst Andy Doe showing the precise chronology of the decline and fall. Ageing audiences in the 21st century, the gramophone in the 20th, the dangerous new technology of the pianoforte
By all accounts, Tchaikovsky struggled to compose The Nutcracker. It wasn’t his idea of an effective ballet scenario, and he was unimpressed with the choreographer Marius Petipa’s prettified storyline. Mid-composition, he learned of the death of his younger sister Alexandra. ‘Even more than yesterday, I feel absolutely incapable of depicting the Kingdom of Sweets in
Grade: B It must have been an interesting day in the Orpheus Chamber Orchestra’s press office when Blair Tindall’s memoir Mozart in the Jungle hit the bookshops in 2005. ‘He sat in the desk chair, pushed aside the first oboe part of Rossini’s Italian Girl in Algiers and tapped a pile of cocaine on the
That strain again… it’s the morning after the concert and one tune is still there, playing in the head upon waking, running around and around on an unbreakable loop over breakfast. I’ve never liked the term ‘earworm’. It suggests an alien parasite, an aural violation, when in fact some part of the musical brain is
It’s the final scene of The Valkyrie and Wotan is wearing cords. They’re a sensible choice for a hard-working deity: practical but with a certain retro flair. Slumbering under a red puffer jacket lies his daughter Brünnhilde, and as Wagner’s music yearns and flickers, the Lord of Ravens shuffles slowly around on all fours, methodically
With Glyndebourne’s The Rake’s Progress, the show starts with David Hockney’s front cloth. The colour, the ingenuity, the visual bravura: 46 years after this production’s first appearance in 1975, it’s still capable of halting you in your tracks. So drink it in. No blockbuster art exhibition will ever give you such ideal viewing conditions, or
Until 1881, HMS Pinafore was the second-longest-running show in West End history. Within a year of its première it had broken America too; at one point there were eight competing productions on Broadway alone. The single most wrongheaded notion that still clings to Gilbert and Sullivan’s operas is that they’re somehow low-rent or parochial. They
‘Drammatico’, wrote César Franck over the opening of his Piano Quintet, and you’d better believe he meant it. The score bulges with clues: piu dolce; espressivo sempre; eventually (and steamiest of all if you’re even slightly attuned to the absinthe-dazed atmosphere of French Wagnerism) tenero ma con passione — ‘tenderly, but with passion’. It was
Haydn is looking well — in fact, he’s positively glowing. The dignified pose; the modest, intelligent smile: it’s only when you squint closely at the portrait that Thomas Hardy painted in London in 1791 that you clock the full peachy-pink smoothness of his complexion. It’s curious, because Haydn suffered disfiguring smallpox as a child, and
Leos Janacek cared about words. He’d hang about central Brno, notebook in hand, eavesdropping on conversations and trying to capture their exact rhythm and intonation in scribbled semitones and quavers. So there’s a tidy irony in the fact that the opera that made his name isn’t really called Jenufa at all. Janacek called it Jeji
‘It’s generally agreed that in contemporary practice, this opera proposes significant ethical and cultural problems,’ says the director Lindy Hume in the programme book for her new production of Madam Butterfly, and if you’ve just shelled out 75 quid in the expectation of attractive scenery and luscious tunes, that’s you told. In truth, it’s rarely
