Mainly Opera and Ballet
A magnificent new production of Tristan und Isolde, with set designs based on Wagner’s own, opened the season at Grange Park Opera this summer. Its previous staging was seven years ago in Hampshire, before they moved to their new home at West Horsley Place in Surrey. As a musical experience this was mesmerising under the …
In this David Alden production the opera’s title might almost be Iago, the name it was given in its early creation since there was already an Otello by Rossini. Simon Keenlyside’s Iago is very much the dark star, seen at the beginning of each act, half hidden by the curtain. At the end he sits in the …
With the Prince of Wales in attendance at David Pountney’s new production of Ballo, would it be the original late eighteenth century setting with the assassination of King Gustav III of Sweden, or America with no regicide and Riccardo as Governor of Boston? In the event it was neither, more nineteenth century Gothick with a …
Fate, personified by a tall, elegant, funereal character, strikes the stage with a staff at the very start of this production, and after the Marquis of Calatrava’s accidental death the blood on the wall is a constant reminder to his daughter Leonora and her lover Don Alvaro of their inability to be reconciled with him …
This brand new Aida from Phelim McDermott, whose stunning Akhnaten for the ENO in 2016 won the Olivier Award earlier this year, showed once again some spectacular theatre aided by the Improbable company. It all started with great subtlety as the curtain peeped open, at first showing just a small triangle of light at the …
As the Royal Opera and Kasper Holten part company, this is his last throw of the dice. Like many continental European directors he delivers us a ‘concept’, and in the first two acts I was puzzled to know why it necessitated the abandoning of the church, Sach’s house, Pogner’s house, and the street. Act I …
This second revival of Catherine Malfitano’s powerful production, with its massive sets for the first two acts and surreal night sky for the pre-dawn execution of Act III, makes the perfect follow-up to last Friday’s excellent season opening — Richard Jones’s intriguing take on Don Giovanni. This allows the blood and passion of Puccini’s masterpiece …
The unusually abstract title of this mature yet seldom-performed Verdi opera could be rephrased as ‘the force of anger’. The Marquis of Calatrava’s ferocity at his daughter Leonora’s choice of husband leads to his accidental death, and his son Don Carlo’s furiously determined revenge leads to his own death and that of his sister. “Vengeance …
Although one of the greatest operas ever written, it is not unknown for directors and conductors to make a mess of it, even at Wagner’s own temple in Bayreuth, but not at the ENO, thank God! This resounding success throws down the gauntlet to those Beckmessers in the Arts Council who not only mark down …
Who is Manon? At the end of this production, Des Grieux’s confusion is represented by two identical versions of her on stage, elegantly dressed in black raincoat and high heels. The bleak plains of Louisiana are absent, replaced by what is a running theme in this staging — the modern world of airports and train …
Anthony Minghella died four years ago, but his wonderful English National Opera production of Madam Butterfly lives on. Created in 2005 it attracted huge acclaim and won the Olivier Award for best new opera production. Those who attend live relays from the Metropolitan Opera in New York may have seen it in the cinema in 2009, but it’s better in …
For those who love this Strauss/Hofmannsthal collaboration, the programme booklet contains an interesting essay by Mike Reynolds, describing the vital contributions by Hofmannsthal’s collaborator, Count Harry Kessler. This well-connected and talented man, who was brought up in France, England and Germany, chose the plot and had a huge influence on its structure and realisation. The …
Catherine Malfitano’s production of Tosca opens with a bang, not just from the excellent conducting of Stephen Lord, but the sudden appearance of the escaped prisoner Angelotti, centre stage at the rear of the church. He turns and flies forward, a dramatic move that sets the scene for this most theatrical of operas. Cavaradossi’s entrance …
… Mimi herself was the star of the show, gloriously sung by Elizabeth Llewellyn, making her ENO debut.
