Year: 2020

‘Yes, in my opinion no rhetoric more persuadeth or hath greater power over the mind; hath not Musicke her figures, the same which Rhetorique? What is a but her Antistrophe? her reports, but sweet Anaphora’s? her counterchange of points, Antimetabole’s? her passionate Aires but Prosopopoea’s? with infinite other of the same nature.’

Jakub Hr?öa has an unusual gift for a conductor and that is to make the mightiest symphony sound uncommonly intimate. There were many moments during this performance of Mahler’s Resurrection Symphony where he grappled with its monumental scale while reducing sections of it to chamber music; times when the power of his vision might crack the heavens apart and times when a velvet glove imposed the solitude of prayer.

Verdi’s sublimely memorable melodies inform and redeem his setting of the dramatically muddled Il Trovatore, the most challenging piece to stage of his middle-period successes.

Storm Dennis posed no disruption to this revival of Britten’s The Turn of the Screw, first unveiled at Leeds Grand Theatre in 2010, but there was plenty of emotional turbulence.

Verdi’s Luisa Miller occupies an important position in the composer’s operatic output. Written for Naples in 1849, the work’s genesis was complex owing to problems with the theatre and the Neapolitan censors.

If opera can sometimes seem unyieldingly conservative, even reactionary, it made quite the change to spend an evening hearing and seeing something which was so radically done.

The first performance of Handel’s two-act Acis and Galatea – variously described as a masque, serenata, pastoral or ‘little opera’ – took place in the summer of 1718 at Cannons, the elegant residence of James Brydges, Earl of Carnavon and later Duke of Chandos.

Are critics capable of humility? The answer should always be yes, yet I’m often surprised how rare it seems to be. It took the film critic of The Sunday Times, Dilys Powell, several decades to admit she had been wrong about Michael Powell’s Peeping Tom, a film excoriated on its release in 1960. It’s taken me considerably less time – and largely because of this astounding recital – to realise I was very wrong about Lise Davidsen.