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Florilegium, Wigmore Hall

During this exploration of music from the Austro-German Baroque, Florilegium were joined by the baritone Roderick Williams in a programme of music which placed the music and career of J.S. Bach in the context of three older contemporaries: Franz Tunder (1614-67), Dietrich Buxtehude (1637-1701) and Heinrich Biber (1644-1704). The work of these three composers may be less familiar to listeners, but Florilegium revealed the musical sophistication - under the increasing influence of the Italian style - and emotional range of this music which was composed during the second half of the seventeenth century.

Leoncavallo: Zazà - Opera Rara

Charismatic charm, vivacious insouciance, fervent passion, dejected self-pity, blazing anger and stoic selflessness: Zazà - a chanteuse raised from the backstreets to the bright lights - is a walking compendium of emotions. Ruggero Leoncavallo’s eponymous opera lives by its heroine. Tackling this exhausting, and perilous, role at the Barbican Hall, The Albanaian soprano Ermonela Jaho gave an absolutely fabulous performance, her range, warmth and total commitment ensuring that the hooker’s heart of gold shone winningly.

L'ospedale - an anonymous opera rediscovered

‘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.

Šimon Voseček : Biedermann and the Arsonists

‘In these times of heightened security … we are listening, watching …’

René Pape, Joseph Calleja, Kristine Opolais, Boito Mefistofele, Munich

Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !

Calixto Bieito’s The Force of Destiny

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.

Morgen und Abend — World Premiere, Royal Opera House

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 Combines Classic and Chic in an Exquisite Cinderella

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 of Cinderella.

Monteverdi by The Sixteen at Wigmore Hall

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.

Dialogues des Carmélites Revival at Dutch National Opera

If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.

Ermanno Wolf-Ferrari: Le donne curiose

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.

Moby-Dick Surfaces in the City of Angels

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 at the Dallas Opera

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.

Schubert and Debussy at Wigmore Hall

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.

A Bright and Accomplished Cenerentola at Lyric Opera of Chicago

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.

La Bohème, ENO

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 transvestites.

Luigi Rossi: Orpheus

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).

64th Wexford Festival Opera

Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.

Christoph Prégardien, Schubert, Wigmore Hall London

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. .

The Magic Flute in San Francisco

How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.



Eleanor Laugharne as Tytania and Barnaby Rea as Bottom [Photo by Clive Barda courtesy of Guildhall School of Music and Drama]
01 Mar 2012

A Midsummer Night’s Dream, GSMD

There were high hopes for the 2012 debut production of A Midummer Night’s Dream by the Guildhall School of Music and Drama’s Opera programme .

Benjamin Britten: A Midsummer Night’s Dream

Oberon: Tom Verny; Tytania: Eleanor Laugharne; Puck: Alexander Knox; Lysander : Stuart Laing; Hermia: Kathryn McAdam; Demetrius: Ashley Riches; Helena: Sky Ingram; Quince: James Platt; Snug: Joseph Padfield; Starveling: Hadleigh Adams; Flute: Jorge Navarro-Colorado; Snout: Luis Gomes; Bottom: Barnaby Rea; Theseus: Ciprian Droma; Hippolyta: Catherine Backhouse; Peaseblossom: Alba Bosch Teixidor; Cobweb: Faustine de Mones; Moth: Iria Perestrelo; Mustardseed: Laura Ruhi Vidal. Conductor: Stephen Barlow. Director: Martin Lloyd-Evans. Designer: Dick Bird. Lighting designer: Simon Corder. Choreograher: Victoria Newlyn. Guildhall School of Music and Drama, Barbican Theatre, London, 28th February 2012.

Above: Eleanor Laugharne as Tytania and Barnaby Rea as Bottom

Photos by Clive Barda courtesy of Guildhall School of Music and Drama


Instead of the usual cramped GSMD theatre, this took place in the Barbican Theatre, which allows much more scope for ambitious work, and training in theatre skills, part of the GSMD brief. At the Barbican, young artists of the future have a bigger platform in every way.

A magical effect to begin with. The mechanical curtain was imaginatively clothed in sparkling metal strips. Then, the set revealed a dormitory, perhaps some spartan public school whose fees don’t cover humane accommodation for the inmates. Fair enough, for Britten was traumatized at boarding school, and his music retraces lost innocence over and over again. Then in come the lovers, Demetrius, Lysander, Hermia and Helena appear in 1940’s military garb. Later, Bottom awakes in a bed suspended above the stage. If these images seem familiar, they’re derived. like collage, from several recent professional productions including the ENO, Garsington Opera and Glyndebourne. That’s not in itself a problem, since GSMD students are there to learn.

Perhaps this production was a collaborative effort, involving as many students as possible in the process, but Director Martin Lloyd-Evans might have exerted tighter editorial control to ensure a coherent vision. There are many levels in Shakespeare and in Britten, so A Midsummer Night’s Dream provides wonderful opportunities for young directors and designers to engage with many ideas. This time, though, everyone seemed to be playing safe. The designs (Dick Bird) don’t suggest that much thought has been put into the production. GSMD students are capable of very good work indeed. Read here about their production of Dialogues des Carmélites last year That was outstanding, and would have done credit to a professional house.

When the energy of the cast is engaged, however, there are excellent moments. The mechanicals, in particular, moved precisely, as if in a chorus line, each man perfectly synchronised, arms askew. (Movement by Victoria Newlyn). Very impressive, but individual personalities are not well defined. Not even Bottom, whom Shakespeare singles out for special treatment. It’s a wonderful role, which Barnaby Rea sang well but wasn’t called upon to develop theatrically. The lovers were well done, Ashley Riches’s distinctive voice instantly recognizable, even in anonymous uniform. We need good countertenors and Tom Verney’s Oberon had imposing presence. He’s very young so could well develop an interesting profile. Good singing from the choruses, particularly the quartet of fairies, who were vivacious and well blocked. Given the high calibre of GSMD’s Technical Theatre course participants, one might have expected more imaginative special effects to create the magic the staging lacked. At the Linbury Theatre a few years ago, Puck was played by a circus artist, abseiling from wires, as if he could fly.

MND_Guildhall_02.gifSky Ingram as Helena, Stuart Laing as Lysander and Ashley Riches as Demetrius

Nonetheless, best for last. Shakespeare and Britten wrote the Mechanical’s stage play with such wit that it’s impossible not to make it effective theatre. Now each singer made his mark, each evidently enjoying himself camping up and having fun. Theseus, Hippolyta and the lovers sneer, but Shakespeare and Britten knew that amateur dramatics have quaint charm.

Anne Ozorio

MND_Guildhall_03.gifThe Mechanicals

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