Mainly Opera and Ballet
Matthew Arnold was a highly talented composer let down by his mental health and a predilection for drink. This opera followed a previously abandoned collaboration on a great opera to rival both Boris Godunov and Otello, with the same librettist, but this time they went to the opposite extreme, turning a Restoration comedy into a …
Rimsky-Korsakov’s opera, often called The Maid of Pskov, gives a human insight to Ivan IV (the ‘Terrible’) who encounters a young woman in Pskov (near the Latvian-Estonian border) he realises is his own daughter. She has no idea he is her real father, and will never find out as she is shot in the confusion …
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.
This charming Rossini opera deals with a writer who finds the characters for a story, and helps them interact with one another to create a happy ending. Glyndebourne’s new production by Mariame Clément is far too complex in Act I, as the writer’s notes and drafts keep appearing on the back of the stage, to …
The opening night of Glyndebourne’s season featured a vibrant production of Janaček’s dramatic opera Katya Kabanova with the wonderful Czech soprano Kateřina Kněžíková in the title role. A superb performance under the baton of Robin Ticciati in a new production by Damiano Michieletto. My review in The Article.
In these days of recovery from Covid-19, with social distancing still in force, the Royal Opera decided to reopen full scale live operas on stage with Mozart’s late opera La Clemenza di Tito, which has only an off-stage chorus. This new production by Richard Jones did not entirely work. See my review in The Article.
What a treat to be back at the Royal Opera House to watch The Nutcracker, despite the social distancing for dancers and audience. My review in The Article.
This is the interesting article in the ROH Sleeping Beauty Programme, courtesy of its author and the Royal Opera House. Behind the Fairytale by Sebastian Cody. The budget for the first production of The Sleeping Beauty ‘almost equalled the cost of two warships’, or so said a recent Russian expert. This is perhaps a slight …
This new minimalist production strips away the usual setting, and concentrates on the characters’ interactions with one another and the sexual yearnings that drive them all. The staging allows the performers to connect directly with the audience — see my review in The Article.
A delightful production in bright colours with a very fine young cast, all under the baton Holly Mathieson. My review in The Article.
