Mainly Opera and Ballet
Benjamin Britten’s opera Peter Grimes portrays its eponymous character as neither hero nor villain. Like everyone else in George Crabbe’s story his life is controlled by the sea, their destinies forged and circumscribed by powerful forces, just as Britten’s was in the Second World War when he left Britain for America where this work was …
The recent tendency to set operas in the period leading up to the first world war seems to inspire this production by Stephen Medcalf. The Valkyries are in spiked helmets, Wotan is a general, and we are in a grand house furnished with varying collections of such things as butterflies and daggers. In addition to …
Czech verismo with attendant Central European melancholy, this carries quite a punch. There are four principal characters, Jenufa who is pregnant by Števa, her step-mother the Kostelnička (church sexton), and Števa’s half-brother Laca who adores Jenufa, but jealously cuts her face, disfiguring her. She adores Števa but he rejects her, and Laca is horrified by …
Having heard negative comments from one friend about Jeremy Sams’s new production of Grimes, and from another that it was first rate, I was intrigued to see for myself. Sets and costumes were reliably authentic from a time somewhere in the late nineteenth/ early twentieth century, and the superb video illusion of the sea rippling to …
This opera about life and death, about choices made under conditions where society has been led into temporary insanity, deserves and received a production of great simplicity that allowed Poulenc’s music to speak for itself. With excellent vocal performances and orchestral playing under the direction of Stephen Barlow this was a deeply moving experience. The …
At the end, after Onegin has clung uselessly to Tatyana and she has pulled herself away and left the stage, we see Prince Gremin walk across the upper level holding a pistol. A fine dramatic effect, following many others in this beautifully honed production. The splitting of the set into an upper and lower level, …
The title of this opera is a play on words, the eponymous character being the daughter of Lord and Lady Fortune, whose riches have melted away, and after the chorus sings, “We think you should go to gaol”, they take off. Miss Fortune stays behind singing that, “I won’t scuttle away … I’m going to live in …
W. S. Gilbert, the librettist for this work, was a master of wit, not just on paper but spontaneously in conversation. When a neighbour referred admiringly to Ruddigore calling it Bloodygore, Gilbert objected, so the neighbour said: “Same thing isn’t it?” WSG was swift as a rapier, “If I admire your ruddy countenance, it doesn’t mean I …
