Tag Archives: Peter Hoare

Jenufa, Grange Park Opera, Theatre in the Woods, GPO, June 2017

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 …

Read more >


Jenufa, English National Opera, ENO, London Coliseum, June 2016

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 …

Read more >


Lucia di Lammermoor, Royal Opera, ROH, Covent Garden, April 2016

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 …

Read more >


Das Liebesverbot, in concert, Chelsea Opera Group, Cadogan Hall, 25 October 2015

This boisterous, comic opera by the 22-year-old Wagner was entirely outside his subsequent metier, and very different from his first opera Die Feen, completed a year earlier. It is also his only one based on a Shakespeare play, in this case the aptly named Measure for Measure — judge not lest ye be judged. The …

Read more >


Lady Macbeth of Mtsensk, English National Opera, ENO, London Coliseum, September 2015

A woman trapped in comfortable domestic surroundings, while her husband’s busy world goes on all around, takes a lover. Her actions and emotions spiral out of control, her once luxurious bedroom vanishes and she ends up in a prison cell — such is the setting well realised by director Dmitri Tcherniakov … apart from the …

Read more >


Queen of Spades, English National Opera, ENO, London Coliseum, June 2015

The moment the orchestra plunged into Tchaikovsky’s overture they promised a superb reading of the score under the baton of Ed Gardner, and we were treated to a musical performance full of energy, tension and passion. One only regrets that this was Gardner’s last opera as music director for the ENO before taking over as …

Read more >


The Rise and Fall of the City of Mahagonny, Royal Opera, ROH, Covent Garden, March 2015.

This is not an easy work to stage, emerging as it does from two slightly incompatible attitudes, by Kurt Weill and Bertolt Brecht, as to its eventual form. Its genesis lay in a series of songs — the Mahagonny Gesänge — published by Brecht in April 1927, which inspired Weill to fulfil a commission he …

Read more >


Thebans, English National Opera, ENO, London Coliseum, May 2014

For his first opera, composer Julian Anderson demonstrates huge chutzpah in combining Sophocles’ three Theban plays (Oedipus the King/ Oedipus at Colonus/ Antigone) into a single evening of opera. The plays were not written in the chronological order of their events, and nor does Anderson take them in that order, ending with Colonus, written shortly …

Read more >


Lulu, Welsh National Opera, Cardiff, February 2013

Alban Berg’s Lulu, mostly written in 1934, was only performed in a complete version for the first time in 1979. Berg died in 1935, and after his widow could not get Schoenberg, nor Webern or Zemlinsky, to write an orchestration of Act III she refused any attempt at completion, and so it remained until she died …

Read more >


The Damnation of Faust, English National Opera, ENO, London Coliseum, May 2011

This is ostensibly a French opera sung in English, though it’s not really an opera but a légende dramatique by Hector Berlioz — a musical and vocal canvas on which a clever director can paint his own picture. And this is exactly what Terry Gilliam does by turning the whole thing into a history about the rise …

Read more >


A Dog’s Heart, English National Opera, ENO at the London Coliseum, November 2010

The production by Simon McBurney is riveting. There is perpetual action and movement without in any way detracting or distracting from the music, and the puppetry by the Blind Summit Theatre is excellent.

Read more >


The Makropulos Case, English National Opera, ENO at the London Coliseum, September 2010

Emilia Marty, Ellian MacGregor, Eugenia Montez, Elsa Müller, Ekatěrina Myškin, all E.M., just like her original name Elina Makropulos. This beautiful woman, born in Crete to Hieronymos Makropulos, is now 339 years old but has not aged since she was 39.

Read more >


Le Nozze di Figaro, Royal Opera, Covent Garden, May 2010

it’s the performance that really counts, and we were lucky to have two superb men: Erwin Schrott as Figaro, and Mariusz Kwiecien as the Count. Along with Eri Nakamura as Susanna, their flawless singing and acting was an absolute delight.

Read more >


Glyndebourne 75th Anniversary Concert, Glyndebourne, June 2009

It also featured others with a strong Glyndebourne connection, such as Gerald Finley, Sarah Connolly, Emma Bell, and Kate Royal, who were all in the Glyndebourne chorus at one time, along with such luminaries as Thomas Allen, Sergei Leiferkus, Felicity Lott, and Anne Sofie von Otter.

Read more >