Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas – which is saying something.
Author: Claire Seymour
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jen?fa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
West Wind: A new song-cycle by Sally Beamish
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
Idomeneo, re di Creta, Garsington
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Nabucco, Covent Garden
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Pl·cido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Tristan, English National Opera
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
The Cunning Little Vixen, Glyndebourne
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
London: A 90th birthday tribute to Horovitz
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
M is for Man, Music and Mystery
Peter Greenaway’s short film M is for Man, Music and Mozart, for which the Dutch composer Louis Andriessen composed the score, was commissioned to mark the bicentenary anniversary of Mozart’s death in 1791.
Classical Opera: MOZART 250 — 1766: A Retrospective
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.