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Recently in Performances

In Parenthesis, Welsh National Opera in London

‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.

Die Walküre, Opera North

A day is now a very long time indeed in politics; would that it were otherwise. It certainly is in the Ring, as we move forward a generation to Die Walküre.

Early Gluck arias at the Wigmore Hall

If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.

Das Rheingold, Opera North

Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.

Peter Grimes in Princeton

The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.

Scintillating Strauss in Saint Louis

If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.

Saint Louis Takes On ‘The Scottish Opera’

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Anatomy Theater: A Most Unusual New Opera

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Shalimar in St. Louis: Pagliaccio Non Son

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Jenůfa, ENO

The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.

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West Wind: A new song-cycle by Sally Beamish

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Florencia en el Amazonas, NYCO

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Idomeneo, re di Creta, Garsington

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Don Carlo in San Francisco

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Jenůfa in San Francisco

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Musings on the “American Ring

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Nabucco, Covent Garden

Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.

The Cunning Little Vixen, Glyndebourne

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London: A 90th birthday tribute to Horovitz

This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.

OPERA TODAY ARCHIVES »

Performances

Anna Maria Martinez
19 Jan 2006

La Traviata, Royal Opera House, London — Three Reviews

This season the Royal Opera House has recreated "Richard Eyre's popular production of Verdi's La Traviata, which draws on striking period designs by Bob Crowley to amplify the tensions and confrontations that make Violetta's predicament so tragic and her portrayal so real." Here are three reviews:

A 'Traviata' on shaky ground

By Edward Seckerson [Independent, 18 January 2006]

If Alfredo's love for Violetta is indeed "the heartbeat of the universe", as he so ardently proclaims in the very first scene of La traviata, then this revival is urgently in need of open-heart surgery. It has been a year since the last exhumation of Richard Eyre's tepid staging, since when the temperature has dropped significantly. No fear of the elaborate ice sculpture at Violetta's party melting prematurely now; but some concern that our heroine will actually make it to Act III. There are many ways of dying on the operatic stage and, for Ana Maria Martinez, it began to look as if consumption might not be one of them.

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La Traviata — Royal Opera House, London

Erica Jeal [The Guardian, 19 January 2006]

Nothing fits the post-Christmas mood quite as well as a consumptive heroine coughing herself nobly into the grave - or at least that seems to be the Royal Opera's line, as it once again offers a January dusting-off of Richard Eyre's 1994 production of La Traviata. Several of the cast are retained from last year's performances; the conductor, Philippe Auguin, took over from Solti during the staging's first run. But experience doesn't always pay, and often Bob Crowley's monumental sets threaten to upstage what is taking place within them.

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La traviata, Royal Opera House London

By Richard Fairman [Financial Times, 19 January 2006]

One owner, quite high mileage, still in good condition. The Royal Opera's production of La traviata has barely been out of the repertoire since 1994 when Angela Gheorghiu scored such a hit in the opening performances, but none of the other sopranos who has taken it for a spin has quite made it her own.

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