Tag Archives: Benjamin Hulett
Posted on 21 June 2024
This wonderfully intense Janacek opera was given a superb staging with Natalya Romaniw very moving in the title role. Thus far this summer, it is the most atmospheric performance I have seen — see my review in The Article.
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Posted on 8 July 2019
A new opera pastiche on the unusual life of the glamorous and politically active Georgiana, Duchess of Devonshire. It uses eighteenth century music by Mozart and others, including some from popular songs of the day, put together by Mark Tatlow with a libretto by Michael Williams, the new CEO of the Buxton Festival. See my …
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Posted on 21 May 2017
Fifty brides for fifty brothers, each to be murdered by his wife on their wedding night, is a story that emerges from Greek mythology — a rich source of material for the first opera composers, including Monteverdi’s student Cavalli who composed this work. Hipermestra is based on the myth of Danaus (Danao) and his twin …
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Posted on 12 August 2016
This was a treat. Peter Hall’s production with its moving trees and bushes and gently swaying branches shows the forces of nature creating the magic that is so well exemplified in Benjamin Britten’s music. John Bury’s designs and Paul Pyant’s lighting foster an atmosphere where the desires of the lovers and the temerity of the …
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Posted on 4 December 2015
Damiano Michieletto’s production of Rossini’s William Tell in June this year was widely panned, so I awaited his new production of Cav and Pag with some apprehension. I need not have. The gritty realism of Giovanni Verga’s 1880 short story Cavalleria Rusticana, later made into a play and taken up by the young composer Pietro …
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Posted on 30 July 2015
When Handel first produced this oratorio in 1738 the audience would have been completely au fait with the Biblical story of Saul, the king of a people previously presided over by judges and prophets such as Samuel, who anointed him as their first king. He also anointed David as his successor, but in the oratorio …
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Posted on 18 June 2014
The coldness of Jonathan Kent’s new production, and the barrage of boos greeting the creative team at the curtain calls, contrasted with the huge warmth of the singing and conducting. Antonio Pappano, who has claimed this to be his favourite Puccini opera, fully brought out the vividness and emotion of the composer’s first major success. The …
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