Prom 15: Wagner “Die Walküre”, Staatskapelle Berlin, Barenboim, Royal Albert Hall (Review)
An evening of high drama: a very public altercation between conductor and concert master, a Wagnerian memory lapse from the leading lady, but one of the most thrilling accounts of Die Walküre you will ever hope to…
Prom 14: Wagner “Das Rheingold”, Staatskapelle Berlin, Barenboim, Royal Albert Hall (Review)
Senses we didn’t even know we had come alive with the sound of that E-flat sunk so deep in string basses that it can be felt as well as heard. But the frisson we experience as this…
Don Pasquale, Glyndebourne Festival Opera
As Donizetti’s Overture chortles into life the scheming Dr Malatesta spirits us through the chambers of Don Pasquale’s residence, emerging through wardrobes, disappearing through wall paintings, a stealthy and surreal presence. His playthings – the characters in…
Le nozze di Figaro, Glyndebourne Festival Opera (Review)
It’s the season of free love in Michael Grandage’s 1960s take on Mozart’s Le nozze di Figaro – everybody’s at it; and since you can’t tell the men from the girls (or even the boys in Cherubino’s…
Ariadne auf Naxos, Glyndebourne (Review)
The Major-Domo promises fireworks during the Prologue of Strauss and Hofmannsthal’s Ariadne auf Naxos. Katharina Thoma, the director of Glyndebourne’s new staging, drops a bombshell – actually several bombshells. Glyndebourne’s wartime history – as a refuge for…
“Wozzeck”, English National Opera, London Coliseum (Review)
If you should take your seats prematurely in the London Coliseum you’ll find yourself confronted with a group of serving British soldiers. You’ll shift a little uneasily under their gaze. There they are, staring, smoking, loitering; there…
Benjamin/Crimp “Written On Skin”, Royal Opera House (Review)
George Benjamin and Martin Crimp’s Written On Skin arrives at the Royal House for its UK premiere trailing extraordinary plaudits from all who’ve seen it. One can understand why. Music theatre is such a delicate, precarious, business…
Charpentier “Medea”, English National Opera, London Coliseum (Review)
Hell hath no fury… and in Medea’s case comes so precipitously that even her children must be taken from the room whenever her demons threaten an unscheduled appearance. That is but one of many telling details that…
Tchaikovsky “Eugene Onegin”, Royal Opera House (Review)
We begin where we will end – with Onegin and Tatyana closing the door on the life that was and the life that might have been. It’s one of the great “what ifs” of opera and Kasper…
Verdi “La Traviata”, English National Opera, London Coliseum (Review)
So this is La Traviata laid bare, stripped of all superfluities (some chorus, all ballet, offstage reveries in the final scene), and played out “in secret”, as it were, behind closed curtains. Actually the director Peter Konwitschny…