Mainly Opera and Ballet
This was a revelation: first the acoustic, where singers can be heard clearly wherever they stand on stage; second the wonderfully subtle conducting of Ádám Fischer, who produced a funeral march in Götterdämmerung that sang with unforgettable emotion, helped by a well-controlled brass section; and third the semi-staging. See my review in The Daily Telegraph, which …
This new production by incoming artistic director Daniel Kramer is his first full-length opera for the ENO — he previously directed a fine Bluebeard’s Castle as part of a double bill in 2009 — so it was intriguing to see the result. There was a plethora of ideas, too many for my liking, and greater …
After the end of a terrific performance, director David Alden was presented with two gifts to celebrate the 30th anniversary of his work with the ENO, whom he extolled as his favourite opera company in the world. That they work so well together is amply illustrated in this production whose huge enclosing set allows the stage …
My lingering impression from this unusual David Alden production is of Grimes as one of the few sane people in the town. In Act III the choreographed actions of the townspeople make them look like a mad Greek chorus celebrating some Dionysian rite, and when they sing Peter Grimes! at the tops of their voices …
Fidelio is far from my favourite opera, so for me the novelty of this new staging was a welcome departure from the usual dreary prison. Catalan director Calixto Bieito has instead placed the events in a modern setting of steel and glass, the prisoners being so-to-speak trapped in offices where they spend most of their …
For those who saw English National Opera’s new production of Peter Grimes in 2009, here was a chance to savour the full glory of Britten’s score. With the ENO orchestra and chorus in the vast expanse of the Albert Hall under brilliant direction by Edward Gardner, this was a musical treat. As Grimes himself, Stuart Skelton gave a …
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 …
Easter comes late this year but Parsifal is early, and stepping into the warmth of the London Coliseum from a washed-out winter’s day was a treat. As the first bars came out of the orchestra, Mark Wigglesworth’s conducting showed the clarity and quality Wagner’s music demands, and sent tingles down my spine.
… this dark and theatrically powerful opera is a must-see, and you would have to go a long way to find better singing or conducting — they were both virtually unbeatable.
…what really drove Britten’s masterpiece home was Stuart Skelton [as Grimes], Felicity Palmer [as Mrs. Sedley], the chorus, and the conductor Edward Gardner.
