Mainly Opera and Ballet
Terrific performances by Moldovan soprano Natalia Tanasii as Tatyana and British-Singaporean mezzo Fleur Barron as Olga in an excellent production by Michael Boyd. They headed a fine cast under the baton of Douglas Boyd (no relation), who fully brought out the emotional intensity of Tchaikovsky’s music. My review in The Article.
A hauntingly memorable interpretation of Britten’s masterpiece based on the Henry James story, with Sophie Bevan expressing the naïve yet fevered emotions of the Governess. Wonderful singing from all the cast, including Ed Lyon as Quint — see my review in The Article.
From a powerful start with timpani and clashing chords, illustrating the energy and activity of a busy office, this opera opens out into thriller. As Marnie steals and steals again, giving money to her crabby mother to assuage some mysterious guilt, you wonder what next for this strangely self-absorbed young woman, and as a friend …
At the end, after Onegin has clung uselessly to Tatyana and she has pulled herself away and left the stage, we see Prince Gremin walk across the upper level holding a pistol. A fine dramatic effect, following many others in this beautifully honed production. The splitting of the set into an upper and lower level, …
Artistic director Kasper Holten decided quite sensibly to take over the scheduled revival of an earlier production, and do something new. He was already endowed with some fine singers, so there were excellent performances here, including sympathetic conducting by Robin Ticciati. Simon Keenlyside sang strongly as Onegin though the production prevented him from giving a full portrayal …
