Tag Archives: Jonathan Kent

Manon Lescaut, Royal Opera, Covent Garden, 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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Hippolyte et Aricie, Glyndebourne, July 2013

This is the third Rameau opera I have seen in as many years, and I understand the problem. Rameau’s delightful music — played here on original instruments by the Orchestra of the Age of Enlightenment under the excellent baton of William Christie — is full of wonderful dance rhythms. The question is what to do …

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Tosca with Opolais, Lee and Volle, Royal Opera, Covent Garden, 20 March 2013

In this new cast, Kristine Opolais and Yonghoon Lee complemented Michael Volle, who has sung Scarpia all this month at Covent Garden. From my previous experience of him in other bass-baritone roles (from Salome to Aida) he more than lived up to expectations, but it was Yonghoon Lee as Cavaradossi who was the new find …

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The Fairy Queen, Glyndebourne, July 2012

A  Midsummer Night’s Dream as Gesamtkunstwerk, with actors, singers, and dancers in Purcell’s remarkable semi-opera, is given here in an eclectic production by Jonathan Kent combining the seventeenth century with modern times — linked of course by the fairies. It all starts in a Restoration drawing room with a Restoration version of Shakespeare. His play within a …

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The Flying Dutchman, English National Opera, ENO, London Coliseum, April 2012

Sudden darkness in the auditorium … the orchestra struck up, and we were treated to great power and sensitivity from the baton of Edward Gardner. The silences were silent, the quiet passages quiet, and the loud passages with the chorus came over with huge force. This new production by Jonathan Kent starts in the overture with a …

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Sweeney Todd, Adelphi Theatre, London’s West End, March 2012

Vengeance is mine, saith the Lord, yet it’s a dictate usually unheeded, and like Verdi’s Rigoletto, Sweeney Todd’s actions lead to the death of the woman he holds most dear. The last time I saw this musical drama by Stephen Sondheim was in Chicago with Bryn Terfel as the eponymous character. It was performed at the Lyric Opera House, a …

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The Turn of the Screw, Glyndebourne, August 2011

The clarity of this production, and this performance, was exceptional. From the first words of the Prologue to the last words of the drama when the Governess asks the limp body of Miles, “What have we done between us?”, the whole story was laid bare. The scene with the governess travelling by train to the big …

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Tosca, with Gheorghiu, Kaufmann, and Terfel, Royal Opera, Covent Garden, July 2011

The orchestra, under brilliant direction by Antonio Pappano, started with a bang and the tension kept up throughout. Lukas Jakobski made a strong entrance as the escaped prisoner Angelotti, and as he left, Jeremy White came on as a humble Sacristan followed by a madding crowd of children. All very good theatre, before Cavaradossi enters, …

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Tosca, Royal Opera, Covent Garden, June 2011

… the main plaudits go of course to Serafin and Giordani, along with Antonio Pappano in the orchestra pit. Act III starts beautifully quietly — this is wonderful music, and Pappano directed it with immense sensitivity …

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A Month in the Country, Chichester Festival Theatre, October 2010

The slightly worn appearance of the house helped give a sense of impending doom, and as Donald Rayfield writes in the programme, “after . . . watching A Month in the Country you realise quite how painful is the catastrophe that has struck the characters”.

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Don Giovanni, Glyndebourne, July 2010

Gerald Finley is the perfect Don, suave and brutal … both he and Luca Pisaroni as Leporello performed with an insouciance that gave the impression either one would happily shop the other if push came to shove.

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