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‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security
we are listening, watching
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
If not timeless, Robert Carsen’s production of Francis Poulenc’s
Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe,
pianist Malcolm Martineau and harpist Lucy Wakeford.
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
tale of suffering bohemian artists into the ‘modern urban age’, when
director David McVicar ditched the Parisian garrets and nineteenth-century
frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello
shared a line of cocaine under the grim glare of naked light bulbs and the
clientele at Café Momus included a couple of gaudily attired
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
13 May 2009
Peter Grimes — English National Opera, London Coliseum
In David Alden’s extraordinary new staging of Britten’s
masterpiece, with sets by Paul Steinberg, the Borough is populated by stylised
grotesques, a clever twist on the opera’s existing ‘Little
England’ character stereotypes.
In one of the production’s
creepiest moments, the big man-hunt chorus in the middle of Act 3 is
accompanied by waving of miniature Union Jacks.
Everyone you focus on has a darker secret than the last. At the more normal
end of the range are Felicity Palmer’s Miss Marple-esque Mrs Sedley and
Leigh Melrose’s apparently speed-addicted Ned Keene. The most disturbing
include Darren Jeffery’s Hobson, who appears to have a whole boy-killing
factory of his own going on unnoticed right under everybody else’s noses.
Weirdest of all are Auntie and the Nieces — Rebecca de Pont Davies as a
club-footed cross-dresser with a pinstripe suit and walking cane, and Mairéad
Buicke and Gillian Ramm as a pair of possessed zombie twins in identical school
uniform and pigtails. The Nieces are the production’s only faintly
jarring note, with their vacant and jerky choreography which makes them barely
even recognisable as human beings, but if they have one dramatic function
it’s giving a new layer of depravity to Bob Boles, Swallow and everybody
else who shows a sexual interest in them. Perhaps they are the ultimate product
of this diseased community.
Yes, it’s the norm here to be disturbed, deformed or damaged (even
Balstrode, sung by the excellent Gerald Finley, is missing an arm —
besides the costumes, this is the most obvious visual clue to the
production’s 1940s setting, though Auntie seems a throwback to the 30s)
and Peter and Ellen are seemingly the only complete and sane individuals among
them. Although her even-temperedness and common sense make her stand out from
her neighbours, Ellen is integrated into the community — a community
where people do everything together, moving in swarms — but Grimes is a
loner, and it is this and this alone which leads to his becoming the local
scapegoat. By the end, they have poisoned him into madness, but at least he is
able to escape through death. Ellen is the one who has to live with it all, and
I dare say she fits right in with the rest of them after all she has been
through. With Amanda Roocroft in the role, there are echoes of her recent,
brilliant Jenufa here — a bright-natured, attractive young woman worn
down through her experiences. At times her singing is shrill on top and her
diction indifferent, but her character portrait is spot on, the relationship
with Grimes filled with real tenderness.
The Australian tenor Stuart Skelton is as fine a Grimes as you could wish to
hear, wielding both his large voice and burly physique with intelligence and
subtlety. Emerging from the man-hunt and the subsequent pained calm of the
final interlude, Alden’s staging of the mad scene is devastating in its
simplicity: the surtitle screen and orchestra pit go dark, and Grimes is alone
in the abyss beneath a grey and foggy sky. Skelton maximises the effect the
solitude of the setting with a performance of heartbreaking vulnerability and
Peter Grimes (Stuart Skelton); Auntie (Rebecca de Pont Davies) (front rt); Bob Boles (Michael Colvin) (front rt in upturned chair); First Niece (Gillian Ramm) (lying down front nearest); Second Niece (Mairéad Buicke) (behind first neice)
As Grimes hears the drum-led procession approaching his hut — in a
clear and chilling musical echo of his vision, moments earlier, of the first
dead boy — he is distracted into letting go of the rope with which he is
making safe John’s descent down the cliff. Thus the villagers become
directly responsible both for the death of the apprentice and for Peter’s
self-destruction as a result of it. It is a heart-stopping coup-de-theatre.
In the two years that Ed Gardner has been ENO’s Musical Director I
don’t think he has ever drawn a better performance from the house
orchestra than in this detailed but never fussy account of the score. The
playing of the interludes was virtually faultless, with a particularly
memorable brass timbre, the jazzy shape of the phrases in the Storm Interlude
crafted so as to introduce the incongruous 1930s vintage of the inhabitants of
the Boar. A number of remarkable and inventive Grimes stagings have been seen
in London this decade, but musically, this is head and shoulders above the
others. It is perhaps ENO’s finest musical achievement this decade.
Ruth Elleson © 2009