Mainly Opera and Ballet
Cav and Pag may be old warhorses, but when given gripping productions with excellent singers they are thoroughly compelling. Both these productions at the Royal Opera do the trick, and under the baton of Daniel Oren both operas packed a huge emotional punch. See my review in The Article.
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 …
When Leoncavallo wrote Pagliacci he had in mind the brilliant success of Mascagni’s Cavalleria Rusticana — written to win a prize competition — and in this production of the double bill, director Damiano Michieletto cleverly combines the two operas. The travelling players of Pagliacci appear in the village where Cavalleria Rusticana takes place, and in …
Since Covent Garden revived this opera in 2010 for the first time in over a century a quite different production set in a 1930s fascist state was unveiled at Holland Park. Both this and the original 1730 setting in the theatrical world of Paris, lovingly recreated in David McVicar’s production, work well, and with superb …
Arrogance. In her first classical opera for the ROH — she produced Written on Skin earlier — controversial theatre director Katie Mitchell treats Donizetti’s masterpiece with too little respect. Predictably enough it was loudly booed. I didn’t mind the change to the story where the women take control. Lucia seduces Edgardo, becomes pregnant — throwing up …
Before the first night of this hugely theatrical opera the ROH sent out a dramatic announcement saying they were “extremely grateful to Patrizia Ciofi, who has taken over the part of Isabelle at extremely short notice and will sing the role for the first four performances”. In the event she was wonderful, having sung the …
Spanish tenor Celso Albelo was terrific as Elvino, being on top form from beginning to end, and giving serious meaning to the term bel canto.
Piotr Beczala’s performance of Romeo’s cavatina “Ah! lève-toi, soleil!” elicited huge applause and moved the performance into a higher gear.
