Mainly Opera and Ballet
Italian composer Pietro Mascagni never repeated the huge success of Cavalleria Rusticana, his first opera written at age 26, but he had a jolly good try — see my Telegraph review on 15 July 2018.
Anthony Minghella’s hugely successful Butterfly production, which the Metropolitan Opera in New York has broadcast to cinemas around the world, could hardly come at a better time for the ENO. Cinema screenings are one thing, but live in the London Coliseum is an experience not to be missed, and this revival under the superb baton …
This intriguing new production sets the action in the underground world of Vienna during the early 1900s, and a junction of two tunnels at the rear of the stage later becomes the memorial to the Commendatore. His dramatic appearance in ghostly silhouette towards the end well suits this subterranean world. Though slightly different from the …
This excellent Jonathan Miller production with its bifurcated set, easily manoeuvred into three different sets, was graced with the beautiful voice of Angel Blue as Mimi. More on her later, but in the meantime the rest of the cast produced fine singing and for the most part vivid portrayals of their roles. George von Bergen …
Penny Woolcock’s stunning production of Pearl Fishers, with its gloriously ramshackle sets, blaze of South Indian colour, and views of pearl divers sweeping through the clear blue waters, first appeared four years ago. She has now returned to direct this revival, which is superior to the original in terms of vocal performances. This time Sophie …
Puccini’s Madam Butterfly may not be my favourite opera, but this Anthony Minghella production is magical. The silent pulling of a rope to raise a screen before the start, and then the mime that pre-signifies the trapped Butterfly at the end, opens us to a world different from our own. In Act I the extraordinarily …
There were chainé turns as servants enter and exit the stage, along with the occasional pas-de-deux, all very well rehearsed and executed. The Crazy Day is the other title for Beaumarchais’ original play, and this production by Liam Steel, who also did the choreography, certainly gave full rein to the craziness.
Altogether this was well worth seeing, and I applaud University College Opera for putting it on.
