Tag Archives: Catherine Carby

Otello, Royal Opera, December 2019

This first revival of Keith Warner’s dark 2017 production, once again under the baton of music director Antonio Pappano, was musically thrilling, with Ermonela Jaho as Desdemona, Gregory Kunde as Otello, and Carlos Álvarez as Iago — see my review in The Article.

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The Return of Ulysses, Royal Opera, Roundhouse, January 2018

This new production, some might say semi-staging, by John Fulljames gives space to the singers but the theatricality that Monteverdi brought to his stage works has gone missing. The dull costumes fail to express the essence of the characters, and make little distinction between gods and mortals, but Paule Constable’s lighting is magical. The action …

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Les Contes d’Hoffmann, Royal Opera, ROH, Covent Garden, November 2016

This classic 1980 production by John Schlesinger, superbly revived by Daniel Dooner, provides the juxtaposition of magic and reality inherent in so many of E T A Hoffmann’s stories. The play by Barbier and Carré that underlies Offenbach’s opera is based on a selection of his tales that illuminate the dichotomy between life and art, …

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La Calisto, English Touring Opera, ETO, Hackney Empire, October 2016

This 1651 opera by Venetian composer Francesco Cavalli (1602–76), based on a story from Ovid’s Metamorphoses, concerns a nymph called Calisto (‘most beautiful’ in Greek), lusted after by Jupiter who disguises himself as her mistress Diana in order to woo her. Diana herself is secretly drawn to one of her admirers, the youth Endymion, setting …

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Pia de’ Tolomei, English Touring Opera, ETO, Hackney Empire, March 2016

While working on the Siege of Calais, performed by the ETO this time last year, Donizetti and his librettist wanted to duplicate their great success with Lucia di Lammermoor. Casting around for another gentle and loving heroine, whose death would evoke huge pathos, they settled on Pia de’ Tolomei from Dante’s Purgatorio, and in James …

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Iphigénie en Tauride, English Touring Opera, ETO, Hackney Empire, March 2016

In Greek tradition, Iphigenia was sacrificed so the gods would supply her father King Agamemnon with a wind to sail his becalmed fleet against Troy. Euripides tackled the subject in Iphigenia at Aulis, followed later by Iphigenia in Tauris, the basis for this Gluck opera in which Artemis — here called Diana — has already …

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Tristan und Isolde, Longborough, LFO, June 2015

This opera opened in Munich on 10 June 1865, so the Longborough production is very much a sesqui-centenary. And LFO did it proud with a dramatically intense performance of this “most musical of Wagner’s works” under the baton of Anthony Negus, who conducted the Ring here two years ago. As soon as the first bars …

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The Siege of Calais, English Touring Opera, ETO, Hackney Empire, March 2015

Donizetti had once hoped to make his entry to Paris with this opera, but it was not to be. The weakness was Act III, wisely cut by James Conway in this production, leaving us with the departure of six burghers from Calais being sent to their deaths on the command of England’s king Edward III, …

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