Mainly Opera and Ballet
Antonio Pappano bows out at the Royal Opera with a superb Andrea Chénier. This verismo opera by Giordano is one of the great operas of that genre, with a superb libretto by Luigi Illica who wrote for Puccini and other Italian opera composers of that time. It brings the French Revolution and its bloody aftermath …
Cav and Pag may be old warhorses, but when given gripping productions with excellent singers they are thoroughly compelling. Both these productions at the Royal Opera do the trick, and under the baton of Daniel Oren both operas packed a huge emotional punch. See my review 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 …
In this hugely welcome revival of David McVicar’s 2015 production, the three greatest moments came in Act III: Sondra Radvanovsky’s terrific Mamma morta, Dimitri Platanias’s cri de coeur against the wrong turn the Revolution has taken, and Elena Zilio’s electrifying cameo about giving her grandson to fight and die for France. Roberto Alagna’s Chenier was less …
When Leoncavallo wrote Pagliacci he had in mind the brilliant success of Mascagni’s Cavalleria Rusticana — written to win a prize competition — and in this production of the double bill, director Damiano Michieletto cleverly combines the two operas. The travelling players of Pagliacci appear in the village where Cavalleria Rusticana takes place, and in …
Damiano Michieletto’s production of Rossini’s William Tell in June this year was widely panned, so I awaited his new production of Cav and Pag with some apprehension. I need not have. The gritty realism of Giovanni Verga’s 1880 short story Cavalleria Rusticana, later made into a play and taken up by the young composer Pietro …
Suor Angelica knocked Tabarro right off the stage because of one person — Ermonela Jaho. She was . . . words fail me . . . sublime . . . ethereal.
