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Figaro 90210 is Vid Guerrerio’s modern version of Wolfgang Amadeus Mozart and Lorenzo DaPonte’s 1786 opera, The Marriage of Figaro.
David McVicar’s production of Wagner’s seminal music drama runs aground on the Cornish coast.
The coming of ‘Night’ brings darkness, shadows and mystery; sleep, dreams and nightmares; fancies, fantasies and passions.
Umberto’s Giordano’s Andrea Chénier, now at the Royal Opera House, is no more about history than Jesus Christ Superstar is about theology.
Mariusz Treliński’s staging of Tchaikovsky’s operatic masterpiece is visually fascinating but psychologically confusing
The regal trumpets and sackbuts sound their bold herald and, followed by admiring eyes, the powers of state and church begin their dignified procession along a sloping walkway to assume their lofty positions upon the central dais.
Vestiges of a momentous era . . .
There were hints that L’elisir is one of the great bel canto masterpieces.
Aron Stiehl’s production of this rare early Wagner opera cheerfully brings commedia dell’arte to La Cage aux Folles.
Stage director Pierre Audi is not one to be strictly representational in his story telling.
For the first time in its 42-year history, Manitoba Opera presented Beethoven’s mighty ode to freedom, Fidelio, with an extraordinary production that resonated as loudly as tolling bells of freedom.
Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.
Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.
Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.
Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.
Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.
Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.
For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.
O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.
Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.
02 Mar 2005
Stravinsky's Les Noces and Oedipus Rex at the Barbican
After opening its brief Barbican residency with Rimsky-Korsakov, the Mariinsky Theatre moved on to less regular territory for the company, with performances of Shostakovich’s The Nose and a Stravinsky double bill. Although the two Stravinsky works – the “choreographic scenes” of Les Noces and the “opera-oratorio” Oedipus Rex — were first performed (both in Paris) just four years apart, in 1923 and 1927 respectively, they belong to different musical worlds, for Les Noces had been conceived much earlier, in the immediate aftermath of The Rite of Spring, and Stravinsky took a decade to perfect its formal shape and scoring.
Les Noces/ Oedipus Rex
Andrew Clements [The Guardian, 28 Feb 05]
After opening its brief Barbican residency with Rimsky-Korsakov, the Mariinsky Theatre moved on to less regular territory for the company, with performances of Shostakovich's The Nose and a Stravinsky double bill. Although the two Stravinsky works — the "choreographic scenes" of Les Noces and the "opera-oratorio" Oedipus Rex — were first performed (both in Paris) just four years apart, in 1923 and 1927 respectively, they belong to different musical worlds, for Les Noces had been conceived much earlier, in the immediate aftermath of The Rite of Spring, and Stravinsky took a decade to perfect its formal shape and scoring.
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Stravinsky/Gergiev, Barbican Hall, London
By Richard Fairman [Financial Times, 2 Mar 05]
Valery Gergiev should go into corporate public relations. Before he took up his post at the Mariinsky Theatre in St Petersburg, how many people outside Russia could have described the company's style, or what it stood for, or could claim that they were familiar with its performances?
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This is no masterpiece for a maestro
[Daily Telegraph, 28 Feb 05]
Rupert Christiansen reviews the Kirov Opera at the Barbican
Scholars have dubbed Rimsky-Korsakov's penultimate opera, Legend of the Invisible City of Kitezh, as "the Russian Parsifal", and I am surrounded, if not besieged, by people who believe it to be a masterpiece of the genre.
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