Monthly Archives: July 2010
Posted on 31 July 2010
Teddy Tahu Rhodes was particularly good as a strongly voiced yet surprisingly vulnerable Figaro. So often this character comes over as all too knowing, never seriously fearing for the loss of Susanna’s love, but here …
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Posted on 28 July 2010
A good opera production eschews extraneous effects and irrelevant imagery, allowing the music and singing to convey the story directly to the audience, and this Nigel Jamieson production is a fine example.
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Posted on 25 July 2010
Miranda Raison’s smouldering sex appeal and assertive shrewdness in the role [of Anne Boleyn] was by far the most vital thing about this play.
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Posted on 24 July 2010
Gerald Finley is the perfect Don, suave and brutal … both he and Luca Pisaroni as Leporello performed with an insouciance that gave the impression either one would happily shop the other if push came to shove.
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Posted on 20 July 2010
What really made it memorable, however, was Ivan Vasiliev as Spartacus. He was phenomenal. This is a ballet that gives us stage-devouring leaps and extraordinary lifts, performed to perfection by Vasiliev, with Nina Kaptsova as a captivating Phrygia, but there was also a musicality here that rendered their performance a sublime experience.
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Posted on 18 July 2010
…Terfel gave a wonderfully nuanced performance. He built up gradually through Acts I and II, and in Act III his Wahn monologue was beautifully done, and he ended very strongly with his Verachtet mir die Meister nicht . . .
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Posted on 16 July 2010
Roger Allam was gloriously endearing as Falstaff — one could not imagine a better portrayal.
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Posted on 13 July 2010
What is the point of life? For a performer who can no longer perform — in this case an opera singer who can no longer sing — the lights have already gone out. “I’m not the same person any more,” says Susannah York as she joins three other ex-opera singers at a rest home for …
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Posted on 11 July 2010
… in these performances the stylish overacting kept the audience in suspense and drew out the humour without ever overdoing it.
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Posted on 10 July 2010
Beethoven’s only opera is a plea for justice, an idealistic cri de coeur from a composer who originally wanted to dedicate his third symphony to his hero Napoleon, only to be vastly disappointed when the general declared himself emperor.
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