Tag Archives: Adam Silverman
Posted on 21 May 2019
In this hugely welcome revival of David McVicar’s 2015 production, the three greatest moments came in Act III: Sondra Radvanovsky’s terrific Mamma morta, Dimitri Platanias’s cri de coeur against the wrong turn the Revolution has taken, and Elena Zilio’s electrifying cameo about giving her grandson to fight and die for France. Roberto Alagna’s Chenier was less …
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Posted on 8 June 2018
Opening night of this new production under the baton of Andris Nelsons was musical perfection. Covent Garden even managed to bring in Klaus Florian Vogt, arguably the top Lohengrin in the world, who has sung the role numerous times at Bayreuth. For English audiences unused to hearing him, his heavenly voice carries the full power …
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Posted on 21 January 2015
In an entirely unexpected coincidence this new production of an opera about the 1794 French Reign of Terror had its first night less than two weeks after the terrorist attacks in Paris. I refer to the execution of journalists at Charlie Hebdo who, like the real André Chenier, transformed their pens into sharp weapons against …
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Posted on 14 September 2014
After the end of a terrific performance, director David Alden was presented with two gifts to celebrate the 30th anniversary of his work with the ENO, whom he extolled as his favourite opera company in the world. That they work so well together is amply illustrated in this production whose huge enclosing set allows the stage …
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Posted on 23 February 2013
Two completely new ballets, plus one staple from the Balanchine repertoire, made a very well judged triple bill. Alexei Ratmansky’s dances to Chopin’s 24 Preludes were sandwiched between the ethereal Apollo, and Christopher Wheeldon’s powerful new creation to Benjamin Britten’s Sinfonia da Requiem. More on that later, but first to Apollo. Patricia Neary’s staging goes back to Balanchine’s …
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Posted on 20 May 2011
…if you’re willing to accept a representation of mysterious forces in the otherwise mundane world of human beings, then this is strongly recommended as an intriguing take on Britten’s opera.
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Posted on 19 November 2010
As I took my seat on the first night a young man said to his companion that this was better than Puccini. On the other hand I know of someone who walked out of the dress rehearsal at the first interval saying this was not opera. My opinion falls in between such strikingly different reactions.
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Posted on 16 March 2010
… this dark and theatrically powerful opera is a must-see, and you would have to go a long way to find better singing or conducting — they were both virtually unbeatable.
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Posted on 5 February 2010
Altogether, David Alden has created a particularly malicious take on the story, and it works.
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Posted on 23 October 2009
With thirteen musicians in the pit, under the direction of Charles Makerras, the musical rendering could not be better
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Posted on 12 May 2009
…what really drove Britten’s masterpiece home was Stuart Skelton [as Grimes], Felicity Palmer [as Mrs. Sedley], the chorus, and the conductor Edward Gardner.
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