Mainly Opera and Ballet
A terrific opening of Covent Garden’s new Carmen. Olga Kulchynska made a seductive gypsy and Piotr Beczala a suitably weak but vocally strong and effortless Don José in this new production by Damiano Michieletto. The lighting beautifully conveyed the light and dark of Bizet’s opera — see my review in The Article.
In her new production for Welsh National Opera, director Jo Davies has grasped the essence of this work, setting it in a Brazilian favela, and under the baton of Tomáš Hanus with Virginie Verrez in the title role this was a compelling performance. My review in The Article.
Carmen as a musical is what the first part (Acts 1 and 2) felt like, but a musical needs better dance sequences, and the choreography was ineffective. Yet Barrie Kosky, whose production of Shostakovich’s Nose appeared at Covent Garden in late 2016, is ever a theatrical innovator. The orchestra starts without warning as the proscenium …
Penny Woolcock’s visually stunning production, seen at the Metropolitan Opera in New York within the past year and now on its second ENO revival, has seen changes since the 2010 premiere. Less emphasis is given to the influence of the modern world on ancient Hindu society in this traditional fishing village, where Dick Bird’s sets …
Penny Woolcock’s stunning production of Pearl Fishers, with its gloriously ramshackle sets, blaze of South Indian colour, and views of pearl divers sweeping through the clear blue waters, first appeared four years ago. She has now returned to direct this revival, which is superior to the original in terms of vocal performances. This time Sophie …
Choreographer Wayne McGregor’s strength is as a visual artist, and this ballet is based on a fairy tale by Audrey Niffenegger, a novelist and visual artist. A postman falls in love with a raven that gives birth to their child the Raven Girl, who yearns to be bird rather than human. Despite the range of …
The ENO’s new production of Carmen by Calixto Bieito is a stunner. No romantic gypsies here, but a bunch of nasty crooks who don’t bother to tie up Zuniga when he appears in Act II, but simply kick the hell out of him behind their Mercedes. And in Act III after Micaëla, beautifully sung by Elizabeth Llewellyn, …
Roland Petit died less than two weeks ago, and the remarkable timing of this triple bill made it a wonderful tribute to his choreography. That I happened to go on July 22, rather than the first night was entirely fortuitous, and we were rewarded by an incredible performance of Le jeune homme brilliantly danced by guest artist Ivan Vasiliev, shown in …
As the evening warmed up we were treated to a very fine duet between Osborn and Cabell in Act II, and a lovely soliloquy by Finley in Act III.
Penny Woolcock’s fine production, with sets and costumes by Dick Bird and Kevin Pollard, gave a beautiful context for the story. As soon as the first bars of the prelude come from the orchestra we are treated to pearl divers sweeping down to the seabed through clear blue waters …
…putting on this triple bill is quite a feat. Three different conductors, dozens of dancers, many with difficult roles — the Royal Ballet surpasses itself, and the auditorium should really be full to bursting.
With Elina Garanča as Carmen, and Roberto Alagna as Don José, both entirely convincing in their parts and singing so powerfully, this was a glowing performance.
