OPERA


Reviews


The Tsarina's Slippers
By Simon Thomas · 22 Nov 2009
There’s nothing to frighten the children or horses in Francesca Zambello’s ravishingly colourful, but at the same time rather dull, new production of Cherevichki (translated here as
Eugene Onegin
By Editorial Staff · 20 Nov 2009
Tchaikovsky’s best-known opera is a bold choice for a small regional company; it requires accomplished singing from the principals and a measure of spectacle for the scenes including dance. Robi
Così fan tutte
By Editorial Staff · 19 Nov 2009
You’d be hard put to find a more delectable soprano trio than that of Gillian Ramm (Fiordiligi), Lucia Cirillo (Dorabella) and Simona Mihai (Despina) in the revival of Nicholas Hynter’s pr
Così fan tutte
By Editorial Staff · 19 Nov 2009
English Chamber Opera @ John McIntosh Arts Centre Theatre, London In this English Chamber Opera presentation of Così fan tutte, in which renowned mezzo-soprano Sally Burgess makes her
Schnittke's Faust
By Simon Thomas · 19 Nov 2009
London Philharmonic Orchestra at the Royal Festival Hall Some composers get a word or phrase attached to them and it sticks like mud. For the German-Russian Alfred Schnittke (died 1998) it’s &
Bryn Terfel's Bad Boys
By Editorial Staff · 19 Nov 2009
After all the recent complaints about short-changing programmes and dodgy tenor partners it was clear that no one was going to accuse Bryn Terfel of not giving value for money with a programme of ...
Teseo
By Editorial Staff · 19 Nov 2009
There’s a problem inherent in any staging of a Handel opera for a modern audience – what activity is best suited to the da capo section of an aria? If the work’s a more familiar one,
Semele
By Editorial Staff · 18 Nov 2009
It is easy to see why Handel’s Semele was such a flop when it premiered in 1744. When audiences were expecting another Samson or Saul, a steamy tale of sex, seduction, betra
Duke Bluebeard's Castle/The Rite of Spring
By Editorial Staff · 8 Nov 2009
What's lurking behind the seven locked doors of Duke Bluebeard's castle? Most productions treat the opera as a symbol-laden psychodrama. So they don't show us, leaving the terrifying power of Bart&oac
Renee Fleming In Concert
By Editorial Staff · 4 Nov 2009
The RPO at the Royal Festival Hall Considering that this evening was billed as a Renee Fleming concert it was a case of far too little Fleming and far too much “Romeo and Juliet”. For som