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Macbeth, LA Opera

On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.

Jamie Barton at the Wigmore Hall

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The Nose: Royal Opera House, Covent Garden

“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”

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A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.

The Pearl Fishers at English National Opera

Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.

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At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.

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Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.

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English National Opera: Don Giovanni

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World Premiere Eötvös, Wigmore Hall, London

Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.

Walter Braunfels : Orchestral Songs Vol 1

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Stars of Lyric Opera 2016, Millennium Park, Chicago

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Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.



Pierre Augustin Caron de Beaumarchais
28 Sep 2012

Marriage of Figaro at the BBC Proms

Glyndebourne Festival Opera’s visit to the Proms has become a much anticipated annual event. This year on 28 August, they brought Michael Grandage’s new production of Mozart’s The Marriage of Figaro, with the Orchestra of the Age of Enlightenment conducted by Robin Ticciati, who takes over as musical director at Glyndebourne in 2014.

W A Mozart : The Miarriage of Figaro

Figaro : Vito Priante, Susanna : Lydia Teuscher, Countess Almaviva : Sally Matthews, Count Almaviva :Audun Iversen, Bartolo : Andrew Shore, Marcellina : Ann Murray, Cherubino : Isabel Leonard, Don Basilio : Alan Oke, Antonio : Nicholas Folwell, Don Curzio : Colin Judson, Barbarina : Sarah Shafer, First Bridesmaid : Ellie Laugharne, Second Bridesmaid : Katie Bray, Glyndebourne Festival Chorus, Orchestra of the Age of Enlightenment, Ian Rutherford (stage director), Robin Ticciati (conductor)

Royal Albert Hall, London 28th August 2012.

Above: Pierre Augustin Caron de Beaumarchais


In Michael Grandage’s original production at Glyndebourne, there was a raised acting area behind the orchestra, with cast and chorus sitting in semi darkness behind this, whilst not performing. In theis BBC Proms performance (Prom 60), there was no set as such, just rudimentary door frames for entrances and exits.

There were no surprises about the version we heard, the traditional secondary arias were cut to ensure that the drama flowed. And flow it did. The dramatic and farcical elements move The opera was given in an abbreviated staging by Ian Rutherford based on efficiently and swiftly. Humorously too of course, though the boisterousness in act two got dangerously close to real farce. It was part of the way through act two that I thought, who are these people? And basically, the production didn’t really tell me.

Grandage and his designer Christopher Oram had move the action to the 1960’s. Oram’s costumes were all pitch-perfect with velvet suits, liberty print shirts, floaty dresses complete with awful period hairstyles. But this period does not necessarily give a secure dramatic basis for the piece, in fact by rather smudging the hierarchical relationships Grandage rather reduced the drama. In an era of free-love, the relationship of the Count (Audun Iversen) with Figaro (Vito Priante) and Susanna (Lydia Teuscher) was just too friendly. We need to believe that the count almost has the power of life and death over his servants. Without this, he is reduced to a hypocrite in a Whitehall farce.

Perhaps the situation could have been remedied by distinctive, strongly characterised individual performances. But Glyndebourne had assembled a young, enthusiastic cast who work well as an ensemble, conveying Grandage’s intentions, but failed to establish a personal stamp on the characters.

Audun Iversen as the count was personable and promising, but I defy anyone to be imperious when wearing a wig like that and a wine coloured velvet suit. Nor did he exude a particular sexual magnetism, which is surely a necessity. Iversen’s count seemed just too nice, there wasn’t the element of steel in the portrayal, the feeling that he has real power in his fief-dom and enjoys it.

Iversen was, I think, a little too matey with Vito Priante’s Figaro. Priante sang the role well enough but any hint at being revolutionary or subversive was rather nullified by the period. The Marriage of Figaro needs to be a dangerous piece, with real characters trapped in power relationships.

Sally Matthews as the countess was a Celia Birtwell sort of figure, elegant and slightly melancholy. She sang beautifully, "Dove Sono" was ravishing, but did not quite mine the vein of heartbreak at the aria’s heart. This was also noticeable at the end of the opera where the countess’s forgiveness of the count was lovely, but not yet heart-stopping.

Robert Hugill

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