Recently in Reviews
After the horrors of Jagoš Marković’s production of Le Nozze di
Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s
second city of Novi Sad on 27th October would be transplanted from
6th century BC Babylon to post-Saddam Hussein Tikrit or some
bombed-out kibbutz in Beersheba.
First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.
What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!
Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.
Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.
Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.
Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.
Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.
The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
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.
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
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
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 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