The latest in the Royal Opera’s Janáček cycle, this is their first production of ‘The Makropulos Case’ – and mine, too. I was excited to be seeing at last this piece that I’d read about but, appropriately enough, had difficulty imagining as a real experience. Please note that this write-up includes ‘spoilers’ to a certain…
Category: opera review
Darkness divisible: ‘L’Orfeo’ and ‘Elias’, Opernhaus Zürich
Our recent Swiss holiday closed with a lightning visit to Opernhaus Zürich, to catch two performances in one day: a matinée of Monteverdi’s ‘L’Orfeo’, followed by a staged version of Mendelssohn’s ‘Elias’ (or ‘Elijah’). Both were rewarding experiences. I had never seen a production of ‘L’Orfeo’ before (a rather important omission, now happily rectified) and…
Blood ties: ‘Festen’, Royal Opera; ‘Mary, Queen of Scots’, English National Opera
It’s been an intense week. Two operas, over two consecutive evenings, spent with two explosively dysfunctional onstage families. Time to decompress. If you keep an eye on London operantics, you’ll be aware of the world première of Mark-Anthony Turnage’s ‘Festen’ (libretto by Lee Hall, directed by Richard Jones) at Royal Ballet & Opera. And if…
Thirst class: ‘The Elixir of Love’, English National Opera, London
ENO’s new production of ‘The Elixir of Love’ is a witty and affectionate take on Donizetti’s comic romance, beautifully realised and performed. On entering the auditorium of the Coliseum, you immediately notice something a little out of the ordinary. Instead of the normal safety curtain, a big screen spans the stage, showing a stylised drawing…
ENO staging of ‘Suor Angelica’ recalls a dark time in Ireland’s female history
Suor Angelica is a rarely performed, one-act opera by Puccini. When played at all, it is often sandwiched together between two other short operas, Il Tabarro and Gianni Schicchi which probably explains why the work has been overlooked (Gianni Schicchi has tended to be favoured over the other two). Director of ENO, Annalise Miskimmon, was…
Going dark: ‘Duke Bluebeard’s Castle’, English National Opera, London
Just two performances at the Coliseum for this new ‘semi-staged concert performance’ of Bartók’s only opera. A masterpiece in miniature – two main characters, their entwined fates settled in a mere hour – its enigmatic spell both terrifies and enthrals. A horror story on the surface with layers of murky psychodrama underneath: whatever one’s interpretation,…
English Touring Opera stages Stravinsky’s rare Rake’s Progress at the Hackney Empire
As part of their 2024 Spring opera season, English Touring Opera staged The Rake’s Progress by Igor Stravinsky at the Hackney Empire. Conceived later on in Stravinsky’s life, when he was living in America, The Rake’s Progress was his one and only full-length opera. Drawing inspiration from a William Hogarth exhibition he had visited in Chicago, he got writing…
English National Opera brings comedy to the fore with The Barber of Seville
Rossini’s Barber of Seville doesn’t often get the attention it deserves. Perhaps because it has often been unfavourably compared to Mozart’s weightier opera, Marriage of Figaro. The Barber of Seville and The Marriage of Figaro started life as plays by eighteenth century playwright, Pierre Beaumarchais. Sharing the same main characters, the operas are often confused….
Voice recognition: Carolyn Sampson
As many of you will know, soprano Carolyn Sampson reached her 100th recording as a soloist with the release of ‘but I like to sing…’ in November. She celebrated this achievement online, with a series of short videos explaining some of the background to each recording. Full of relaxed charm – with an extra layer…
Vow of violence: ‘Jephtha’, Royal Opera House, London
‘Jephtha’ was Handel’s final oratorio. He was losing his sight during its composition – ironic, perhaps, that his zealot hero is undone by what he sees at a crucial moment. And, given the work’s power and torment, it is hard not to sense Handel raging against the literal dying of the light. For those unfamiliar…
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