Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

Count Ory, Dead Man Walking
and La traviata in Des Moines

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Janáček’s Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

OPERA TODAY ARCHIVES »

Reviews

Magic Flute [Photo courtesy of Theatre Royal Plymouth]
07 Dec 2008

Glyndebourne on Tour — Theatre Royal, Plymouth

Glyndebourne Touring Opera has long been bringing its wares to the further reaches of the southern United Kingdom and its current package of Hansel und Gretel, Carmen and The Magic Flute has been drawing good crowds from Norwich in the east to Plymouth in the south-west.

Glyndebourne on Tour — Theatre Royal, Plymouth

Above: Magic Flute [Photo courtesy of Theatre Royal Plymouth]

 

GTO is all about looking to the future: many of the young singers in the principal roles are getting their first chance to sing with a company of this standard, knowing that from here they may, if good enough, progress to not only the Glyndebourne Festival itself but also other major houses. Also, the operas are supported by the excellent GT Chorus, and a quick look back through their rosters over the years will reveal both in the Chorus and the supporting singers some well known names — the likes of Felicity Lott, Jill Gomez and Ryland Davies, to name just three who have gone on to international careers.

The other great thing about the Glyndebourne “brand” is their reputation for musical quality and long hours of essential rehearsal time, both assets that many similarly-sized outfits struggle to achieve in these straightened times. Young singers need nurturing, and given time to develop their technical and dramatic skills; I this regard I can think of few better companies than GTO. What a touring company can also do is teach them the other vital skill of the successful singer: working to the highest standard in testing circumstances. Long miles on the road, strange theatres, sometimes inadequate facilities, unknown audiences and, for many, the need to learn two or more parts from scratch — and then there is the singing itself.

All these skills were on display recently at the Theatre Royal, Plymouth where this writer caught both Flute and Carmen playing to full enthusiastic houses at the end of GTO’s Autumn Tour. Each was expertly directed, idiomatically conducted and played, and offered a high standard of vocalism. If Mozart’s renowned pot pourri of fairy-tale, panto, myth and Masonic ritual relied almost entirely on elegant 18th century costumes and a clever lighting rig for its effects, GTO brought the versatile set of guardroom/factory with them for Bizet’s Carmen, plus the full chorus in traditional Spanish costume. Each worked well, and if the Plymouth stage seemed a trifle cramped for the latter opera, it was perfect for Magic Flute. As with many of England’s modern “one-size-fits-all” theatres, the needs of versatility can sometimes work against the opera ideal — the Theatre Royal is a good medium-sized hall, comfortable and modern in its facilities both front and back stage, but acoustically offers some challenges to unamplified voices. This showed up most in the recitatives — in both operas — where more projection was needed than was sometimes supplied. Interestingly, this was not a problem once the singers actually sang with orchestra in their arias.

With so many excellent young artists on show over the two nights, one hesitates to mention particular names, as there were absolutely no “duds” in either pack, but this writer was not alone in noticing the fine, resonant, easy tone of the South Korean baritone Yonghoon Lee as Don José in the Bizet. From a hesitant first scene his voice blossomed into something quite special as he mixed bravura passages with finely-wrought pianissimos — a name to watch.

theatre_royalplymouth.pngTheatre Royal, Plymouth. [Photo courtesy of thisisplymouth.co.uk]

Douglas Boyd (Flute) and Jakub Hrusa (Carmen) directed the excellent GT Orchestra who never seemed to put a foot wrong in either ensemble or obbligatos; fine playing on each night.

Sue Loder © 2008

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):