Recently in Reviews
Verdi Un ballo in maschera at the Royal Opera House - a masked ball in every sense, where nothing is quite what it seems. On the surface, this new production appears quaint and undemanding. It uses painted flats, for example, pulled back and forth across, as in toy theatre. The scenes painted on them are vaguely generic, depicting neither Boston nor Stockholm, where the tale supposedly takes place. Instead, we focus on Verdi, and on theatre practices of the past. In other words, opera as the art of illusion, not an attempt to replicate reality. Take this production too literally and you'll miss the wit and intelligence behind it.
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.
This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.
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.
On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.
John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.
Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.
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.
25 Mar 2009
Jenůfa — English National Opera, London Coliseum
Janáček enthusiasts in London have been spoiled this month: opening the day before English Touring Opera’s Katya Kabanova, David Alden’s staging of Jenůfa made a welcome return to the Coliseum following its original double Olivier Award-winning run in 2006.
One of the awards on that occasion was for Amanda Roocroft’s
assumption of the title role, and it was thus a luxury to have her back here
for the revival, heading a cast which was otherwise largely new. Clad neatly in
bright blue, this sunny golden-haired Jenůfa is, from the outset, a
contrast both with Charles Edwards’s Act 1 set, dominated by an ugly grey
workshop against a pale sky, and with the gaudy immodesty of
Števa’s hangers-on. Such is the impression made by her initial
good cheer that it is all too painful to follow the effect of the series of
personal tragedies that befall her. One would never think at the outset that
this was a girl who would end up getting married in a plain black dress
(against which her dead child’s red knitted cap is thrown into
particularly poignant relief).
Roocroft’s singing, too, is full of light at the outset, but by the
final curtain has given way to a measured, introverted luminosity. And in
between — well, after hearing of the death of baby Števuška
her voice is as drained and forlorn as the drab wallpaper in the
Kostelnička’s living-room. She had a strong partner in the
Norwegian conductor Elvind Gullberg Jensen — in his ENO debut — who
showed unfailing sensitivity in these moments of personal reflection, even if
he had a tendency to lose the shape of the music in the bigger, public
Jenůfa’s initial sunniness presents just as sharp a contrast
with the Kostelnička, sung by the American mezzo Michaela Martens; though
her singing was powerful and at times gut-wrenchingly intense, barely a word of
the English translation (by Otakar Kraus and Edward Downes) was decipherable,
and her tone had a tendency to spread out at the height of the second-act
monologue. This production makes her rather severe; it is a shame we
didn’t see more of the internal struggle with her own human nature as the
realisation dawns that only she has the means to dispose of
Robert Brubaker’s Laca is quite outstanding, so alive with repressed
anger and frustration that he seldom even stands still. There was a wildness to
some of the louder moments which concerned me slightly at the time, but which
in hindsight I’m convinced must have been an intentional part of his
characterisation; in the final moments of Act 3, his passionate declaration of
love for Jenůfa was delivered in a full-blooded, secure, radiant
fortissimo — and with both feet firmly on the ground. Thomas Randle was
equally ideal as the irresponsible Števa, looking every inch the alpha
male, his bright, cocksure tenor making every note count.
Tom Randle as Steva Buryja and Mairead Buicke as Karolka
Iain Paterson (the only survivor other than Roocroft of the original 2006
run) was quite outstanding as the Foreman, every word delivered with precision
and sensitivity — and Susan Gorton made much of Grandma Buryjovka, her
wordless but telling reaction to the crass insensitivity of Karolka and family
supplying a rare but welcome moment of comic relief in Act 3.
David Alden’s staging has a few incongruous details; neither the
motorcycle on which Števa makes his first entrance, nor the
colourfully-clad village girls who dance for Jenufa prior to her wedding, seem
appropriate to the time and place. And the production bothered me more second
time around than it did when new. In the dreary surroundings of a small
industrial plant in the 1940s or thereabouts, the insistent staccato of the
opening orchestral theme is accompanied by flashes of light from welding tools
rather than the turning of a mill-wheel. The indoor setting of the second and
third acts is no more attractive, with slabs of old cardboard keeping out the
world in the place of closed shutters. Is the sadness, frustration and violence
in these people’s lives an inevitable result of miserable surroundings,
and not a product of their personal circumstances? It’s a valid
interpretation, if not one that makes for visually striking stage pictures.
Ruth Elleson © 2009