Mainly Opera and Ballet
This marvellous Claus Guth production, first staged at La Scala in 2012, and at Covent Garden three years ago, has now found its way to Berlin under the baton of Zubin Mehta, who produced a terrific performance of Richard Strauss’s score, with its combination of gentle chamber episodes with mighty moments of emotional transformation. Despite …
Although the three acts of Meistersinger – Wagner’s 1868 opera about the tussle between creativity and convention – are normally performed on a single evening, this was an exception. The opening night of Andrea Moses’ new production saw only the first two acts, with the third following next day. My review appeared in the Telegraph, …
Wagner’s Parsifal is about redemption and renewal, but this new production by Russian director Dmitri Tcherniakov adds a jarring note — revenge. My review appeared in the Daily Telegraph.
The overall conception of this production is seediness, but the main problem is a failure of dramaturgy and linkage to the music. There is a sword, originally held by Siegmund, but Siegfried uses a machine-gun for killing Fafner, and although Hagen brings out a spear for the opposing oaths of Brünnhilde and Siegfried, he simply …
After the finest Rheingold I have ever heard, at the Proms with Daniel Barenboim and the Berlin Staatskapelle this summer, it would be churlish to draw comparisons with the Bayreuth orchestra under Kirill Petrenko. They played well, and there were some lovely moments, yet the production by Frank Castorf treated it as background music. Rheingold …
Under Antonio Pappano’s direction the orchestra gave us a lyrical and multi-layered interpretation of Wagner’s score, ranging from soft moments to huge power. After the prologue with the Norns, followed by Brünnhilde and Siegfried, things really opened out in Act I with John Tomlinson as Hagen in the hall of the Gibichungs. He was riveting …
Wotan’s meeting with Erda that starts Act III of Siegfried is a focal point in his demise. After awakening her for advice she tells him to ask Brünnhilde, their daughter bold and wise, but learning Wotan has cast her aside, she asks why he who taught defiance punished defiance, why he who ruled by vows now …
This prologue to Wagner’s Ring promises a feast of fine singing and acting in the remaining three operas of the cycle. Bryn Terfel sang as well or better than I have ever heard him in the role of Wotan, emphasising maturity and self-awareness, showing he realises he has set in motion something against which the …
This was Antonio Pappano’s first Meistersinger for the Royal Opera, and from the start of the overture to the final chords of Act III, more than five hours later, his peerless conducting drove Wagner’s comedy forward with huge effect. The chorus too was excellent, from the first four-part harmony in the church to their final embrace of Sachs …
