Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Reviews

Barber of Seville Is Fun in Tucson

On March 4, 2018, Arizona Opera presented Gioachino Rossini’s The Barber of Seville in Tucson. Allen Moyer designed the bright and happy scenery for performances at Minnesota Opera,

Moody, Mysterious Morel

Long Beach Opera often takes willing audiences on an unexpected journey and such is undeniably the case with its fascinating traversal of The Invention of Morel.

Acis and Galatea: 2018 London Handel Festival

Katie Hawks makes quite a claim for Handel’s Acis and Galatea when, in her programme article, she describes it as the composer’s ‘most perfect work’. Surely, one might feel, this is a somewhat hyperbolic evaluation of a 90-minute pastoral masque, or serenade, based on an episode from Ovid’s Metamorphoses, which has its origins in a private entertainment?

Oriana, Fairest Queen: Stile Antico celebrate the life and times of Elizabeth I

Stile Antico’s lunchtime play-list, celebrating the Virgin Queen’s long reign, shuffled between sacred and secular works, from penitential to patriotic, from sensual to celebratory.

Daniel Kramer's new La traviata at English National Opera

Verdi's La traviata is one of those opera which every opera company needs to have in its repertoire, and productions need to balance intelligent exploration of the issues raised by the work with the need to reach as wide an audience as possible with an opera which is likely to attract audience members who are not regular opera-goers.

Haydn's Applausus: The Mozartists at Cadogan Hall

Continuing their MOZART 250 series, The Mozartists/ Classical Opera began dipping into the operatic offerings of 1768 at Wigmore Hall in January, when they presented numbers from Mozart’s La finta semplice, Jommelli’s Fetonte, Hasse’s Pirano e Tisbe and Haydn’s Lo speziale.

Schubert Schwanengesang revisited—Florian Boesch, Wigmore Hall

Schwanengesang isn't Schubert's Swan Song any more than it is a cycle like Die schöne Müllerin or Winterreise. The title was given it by his publishers Haslingers, after his death, combining settings of two very different poets, Ludwig Rellstab and Heinrich Heine. Wigmore Hall audiences have heard lots of good Schwanengesangs, including Boesch and Martineau performances in the past, but this was something special.

Rinaldo: The English Concert at the Barbican Hall

“After such cruel events, I don’t know if I am dreaming or awake.” So says Almirena, daughter of the Crusader Goffredo, when she is rescued by her beloved warrior-hero, Rinaldo, from the clutches of the evil sorceress, Armida.

Hamlet abridged and enriched in Amsterdam

French grand opera and small opera companies are an unlikely combination. Yet OPERA2DAY, a company of modest means, is currently touring the Netherlands with Hamlet by Ambroise Thomas.

The ROH's first production of From the House of the Dead

Krzysztof Warlikowski’s production for the ROH of From the House of the Dead is ‘new’ in several regards. It’s (astonishingly) the first time that Janáček’s last opera has been staged at Covent Garden; it’s Warlikowski’s debut at Covent Garden; and the production uses a new 2017 critical edition prepared by John Tyrrell.

Così fan tutte at Lyric Opera of Chicago

With artifice, disguise, and questions on fidelity as the basis of Mozart’s Così fan tutte, the composer’s mature opera has returned to the stage at Lyric Opera of Chicago.

WNO's Wheel of Destiny rolls into Birmingham

Welsh National Opera’s wheel of destiny has rolled into Birmingham this week, with Verdi’s sprawling tragedy, La forza del destino, opening the company’s ‘Rabble Rousing’ triptych at the Hippodrome.

A Midsummer Night's Dream at the Royal College of Music

The gossamer web of Shakespeare’s A Midsummer Night’s Dream is sufficiently insubstantial and ambiguous to embrace multiple interpretative readings: the play can be a charming comic caper, a jangling journey through human pettiness and cruelty, a moonlit fairy fantasy or a shadowy erotic nightmare, and much more besides.

Les Funérailles Royales de Louis XIV recreated at Versailles

Les Funérailles Royales de Louis XIV, with Ensemble Pygmalion, conducted by Raphaël Pichon now on DVD/Blu -ray from Harmonia Mundi. This captures the historic performance at the Chapelle Royale de Versailles in November 2015, on the 300th anniversary of the King's death.

Robert Carsen's A Midsummer Night's Dream returns to ENO

Having given us Christopher Alden's strangely dystopic production of Britten's A Midsummer Night's Dream in 2011, English National Opera (ENO) has opted for Robert Carsen's bed-inspired vision for the latest revival of the opera at the London Coliseum.

Turandot in San Diego—Prima la voce

The big musical set pieces in Turandot require voice, voice, and more voice, and San Diego Opera has gifted us with a world-class cast of singing actors.

Dialogues de Carmélites at the Guildhall School: spiritual transcendence and transfiguration

Four years have passed since my last Dialogues des Carmélites, and on that occasion - Robert Carsen’s production for the ROH - heightened dramatic intensity, revolutionary insurrection (enhanced by an oppressed populace formed by a 67-strong Community Ensemble) and, under the baton of Simon Rattle, luxuriant musical rapture, were the order of the day.

'B & B’ in a new key

Seattle Opera’s new production of Béatrice et Bénédict is best regarded as a noble experiment, performed expressly to see if Berlioz’ delectable 1862 opéra comique can successfully be brought into the living repertory outside its native France. As such, it is quite a success.

Songs for Nancy: Bampton Classical Opera celebrate legendary soprano, Nancy Storace

Bampton Classical Opera’s 25th anniversary season opens with a concert on 7th March at St John’s Smith Square to celebrate the legendary soprano Nancy Storace.

Tenebræ Responsories
recording by Stile Antico

Tomas Luis de Victoria’s Tenebrae Responsories are designed to occupy the final three days of Holy Week, and contemplate the themes of loss, betrayal and death that dominate the Easter week. As such, the Responsories demand a sense of darkness, reflection and depth that this new recording by Stile Antico - at least partially - captures.



Robert Carson’s <em>A Midsummer Night’s Dream</em> at English National Opera
02 Mar 2018

Robert Carsen's A Midsummer Night's Dream returns to ENO

Having given us Christopher Alden's strangely dystopic production of Britten's A Midsummer Night's Dream in 2011, English National Opera (ENO) has opted for Robert Carsen's bed-inspired vision for the latest revival of the opera at the London Coliseum.

Robert Carson’s A Midsummer Night’s Dream at English National Opera

A review by Robert Hugill

Above: Christopher Ainslie, Soraya Mafi, Trinity Boys Choir

Photo credit: Robert Workman


Carsen's production debuted at Aix-en-Provence in 1991, was first given by ENO in 1995 and last performed by them in 2004, and for this revival, the cast featured the ENO Harwood Artists strongly. Christopher Ainslie was Oberon and Soraya Mafi was Titania, with Clare Presland, David Webb, Matthew Durkan and Eleanor Dennis as the lovers, Joshua Bloom was Bottom with Graeme Danby, Simon Butteriss, Timothy Robinson, Robert Murray and Jonathan Lemalu as the Mechanicals, Andri Bjorn Robertsson was Theseus and Emma Carrington was Hippolyta, with Milto Yerolemou as Puck. The conductor was Alexander Soddy, who is currently musical director of the Nationaltheater, Mannheim.

The forest in Carsen's production is the world of sleep and dreams, and beds feature heavily in Michael Levine's decor, and costumes give clear visual definition to the various groups in the opera, complementing the musical stratification which Britten uses to define his characters. There is a big cuteness element in the treatment of the fairies (the excellent Trinity Boys Choir) with their tailcoats, very formal manners and elaborate choreography (originally Matthew Bourne, revived by Daisy May Kemp). Perhaps the production does not dig very deep into the opera's psyche and is a little too keen to please, but it forms an excellent vehicle for such a revival with a large contingent of young singers.

Yet, A Midsummer Night's Dream was originally written for the Jubilee Hall in Aldeburgh, which seated just over 300 as opposed to the London Coliseum which seats over 2000. Like the recent productions of G&S at by ENO, there is a sense of Britten's opera having to be re-invented to fill the Coliseum spaces, and you felt that not all the performers in this revival had yet found their feet.

Christopher Ainslie looked superb as Oberon, tall and aristocratic with a slightly icy demeanour which works well with Britten's writing for the counter-tenor voice (as originally sung by Alfred Deller). But the tessitura of the role is rather low for a modern counter-tenor, and though Ainslie sang with a lovely warm timbre and flexible sense of line, his voice did not project with the sort of commanding grace which the role needed though having so much of the action up-stage did not help. Alexander Soddy's speeds seemed, at times, dangerously slow and Ainslie's 'I know a bank' was rather slower than was ideal.

By comparison, Soraya Mafi as Tytania had got the measure of the venue and projected the role's coloratura with personality and ease. She made a delightful Tytania, not as bitchy as some, and brought real charm to Britten's roulades and an underlying sense of humour in the scenes with Joshua Bloom's bottom. Given her fine performance has Handel's Cleopatra in Giulio Cesare for English Touring Opera, Mafi is clearly a talent to watch in this repertoire.

David Webb Clare Presland Matthew Durkan Eleanor Dennis.jpg David Webb, Clare Presland, Matthew Durkan and Eleanor Dennis. Photo credit: Robert Workman.

Clare Presland as Hermia, David Webb as Lysander, Matthew Durkan as Demetrius and Eleanor Dennis as Helena made a lovely, well-characterised group of lovers, clearly relishing the opportunities that the second acts confusions gave them. Each brought a nice sense of character to the role with Eleanor Dennis's rather uptight, blue-stocking Helena (who loosens up considerably), Clare Presland's spunky Hermia, David Webb's nice but dim Lysander and Matthew Durkan's bellicose Demetrius. In a smaller venue this would have worked very well, young voices singing roles just right for them, but in the Coliseum, an element of the drama did not quite cross the footlights and though it looked good, the singers' sense of engagement did not quite project. But this is something which will develop over the run.

Graeme Danby et al.jpgGraeme Danby, Simon Butteriss, Robert Murray, Timothy Robinson, Jonathan Lemalu and Joshua Bloom. Photo credit: Robert Workman.

With such an experienced group of Mechanicals, there was little danger of the drama failing to project here. Joshua Bloom made an engaging Bottom, well sung and nicely characterised with an arrogant swagger but without too much of the self-importance which can be a bit annoying. He had great fun with the suggestiveness of the donkey costume. The others were all effectively and colourfully projected, with Robert Murray's bashful Flute, Graeme Danby's officious Quince, Simon Butteriss's rather overlooked Starveling, Timothy Robinson's delightful Snout and Jonathan Lemalu as an engagingly dim Snug. They had great fun with all the comic business, and frankly, the only way to play the operatic send-up of 'Pyramus and Thisbe' is to play it to the hilt, which they did.

Andri Bjorn Robertsson and Emma Carrington made a noble looking Theseus and Hippolyta, joining with the lovers in the third act to make terrible fun of the Mechanicals.

Miltos Yerolemou.jpgMiltos Yerolemou and Christopher Ainslie. Photo credit: Robert Workman.

Miltos Yeremolou made a very funny Puck. A very physical performer, sometimes you wondered whether it was a little too much, should the production be quite as funny as that. But then, Carsen's overall conception does not really mine the darker side of the opera, and I rather longed for something which sat between Carsen's cuteness and Christopher Alden's dark dystopian view.

The Trinity Boys Choir performed admirably as the fairies, dealing admirably with the complexity of the staging along with Britten's music. The four young soloists, Aman de Silva, Lucas Rebato, Caspar Burman and Dionysius Sevastakis made a fine quartet of solo fairies.

Conductor Alexander Soddy, making a rare appearance in the UK, brought a great sense of detail to Britten's score and drew out some lovely and evocative textures from the players. The opening string glissandi were simply magical, but on occasions, Soddy seemed to rather linger too long over lovely details. In what is quite a long piece, you wanted a bit more dramatic impetus.

This was a revival which you feel needs a little more time to come into focus, but it presents a welcome opportunity to hear five of the current ENO Harewood Artists alongside other young singers, complemented by a fine group of Mechanicals.

Robert Hugill

Britten: A Midsummer Night’s Dream
Oberon - Christopher Ainslie, Tytania - Soraya Mafi, Puck - Miltos Yerolemou, Hermia - Clare Presland, Lysander - David Webb, Demetrius - Matthew Durkan, Helena - Eleanor Dennis, Quince - Graeme Danby, Bottom - Joshua Bloom, Starveling - Simon Butteriss, Snout - Timothy Robinson, Flute - Robert Murray, Snug - Jonathan Lemalu, Theseus - Andri Bjorn Robertsson, Hippolyta - Emma Carrington; Director - Robert Carsen, Conductor - Alexander Soddy, Associate director - Emmanuelle Bastet, Designer - Michael Levine, ENO Orchestra, Trinity Boys Choir.

English National Opera, Coliseum, London; Thursday 1st March 2018.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):