Mainly Opera and Ballet
The first glimpse of what will be Richard Jones’ new production of Wagner’s Ring, for the English National Opera and the Metropolitan Opera in New York, shows some intriguing imagery. Rheingold will appear in the 2021/22 season, with Siegfried and Götterämmerung in 2024 and 2025. See my review of Valkyrie in The Article.
This new production by Claus Guth abstracts the story from its village setting, draws you in, and by Act 3 packs a terrific emotional punch under the excellent baton of Henrik Nánási. In the earlier production last seen twenty years ago, Karita Mattila was Jenufa herself but is now a superb Kostelnička, with Asmik Grigorian …
The opening night of Glyndebourne’s season featured a vibrant production of Janaček’s dramatic opera Katya Kabanova with the wonderful Czech soprano Kateřina Kněžíková in the title role. A superb performance under the baton of Robin Ticciati in a new production by Damiano Michieletto. My review in The Article.
Glass’s opera, based on a film by Jean Cocteau, is the final one in ENO’s Orpheus quartet, and Netia Jones intriguing production reveals Orphée’s mysterious wanderings on the edges of death and immortality. Terrific performances by Jennifer France as The Princess and Nicky Spence as her chauffeur — my review in The Article.
Is the Royal Opera losing the plot? The recent staging of Carmen included narrative not in the libretto, and was very badly received. Now they have done it again. Janáček’s final opera on Dostoyevsky’s novel about convicts in a Siberian prison camp is a marvellous work. The composer was a genius at reworking theatrical and …
Czech verismo with attendant Central European melancholy, this carries quite a punch. There are four principal characters, Jenufa who is pregnant by Števa, her step-mother the Kostelnička (church sexton), and Števa’s half-brother Laca who adores Jenufa, but jealously cuts her face, disfiguring her. She adores Števa but he rejects her, and Laca is horrified by …
For those who saw this same William Kentridge production in live cinema relay from the Metropolitan Opera in New York, the performance on the stage of the London Coliseum is a revelation. Seeing all the action all the time, the mime artists, the subtle animations of charcoal drawings on the printed pages of a dictionary …
This is exactly what the ENO should be doing, presenting a straightforward staging with fine singers and a conductor capable of fully realising the drama. Mark Wigglesworth, who resigned as music director three months ago, allowed Janáček’s score to express the emotional power it embodies and the second act, where the drama makes its turning …
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 …
Congratulations to WNO for staging a Rossini masterpiece that in its day “marked the final and complete emancipation of the bass singer … for the purposes of opera seria” (Francis Toye). Hitherto it had been conventional to restrict important bass roles to opera buffa, but here both Moses and Pharaoh are basses. The sacred theme …
For the first Milan production of this opera, after its earlier première in Paris, there was predictable trouble with the Austrian authorities. The scene with the apple was cut, the oppressors became the English, and Tell was William Wallace. How appropriate then that the WNO have given the first performance of David Pountney’s new production …
What fun this was! Terry Gilliam has done it again, following his opera directing debut with The Damnation of Faust in 2011. Mr. Gilliam’s earlier success was with a later Berlioz opera, and he has now turned to the composer’s first with a story involving the mad genius Benvenuto Cellini, Pope Clement VII and his …
This opera about life and death, about choices made under conditions where society has been led into temporary insanity, deserves and received a production of great simplicity that allowed Poulenc’s music to speak for itself. With excellent vocal performances and orchestral playing under the direction of Stephen Barlow this was a deeply moving experience. The …
This Benjamin Britten opera, based on Herman Melville’s story of the same name, is a tragedy set in 1797 during the French Revolutionary Wars. It’s a hugely strong work, and Edward Gardner in the orchestra pit gave it everything. The orchestra played with great power, the chorus was magnificent, and the singers were wonderful. The opera …
This is great theatre. But it’s also more than that. This is a wonderful opera — a co-production with the Metropolitan Opera in New York, who put together composer Nico Muhly and librettist Craig Lucas.
Beethoven’s only opera is a plea for justice, an idealistic cri de coeur from a composer who originally wanted to dedicate his third symphony to his hero Napoleon, only to be vastly disappointed when the general declared himself emperor.
