Author: Claire Seymour

The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.

Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.

What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.

In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.

This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-J¸rgen Syberberg’s Parsifal film) mean that I missed Gˆtterd‰mmerung, skipping straight to the sequel.

The culmination of Opera North’s “Ring for Everyone”, this Gˆtterd‰mmerung showed the power of the condensed movement so necessary in a staged performance – each gesture of each character was perfectly judged – as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.

Michael Grandage’s production of Mozart’s Le nozze di Figaro, which was new in 2012, returned to Glyndebourne on 3 July 2016 revived by Ian Rutherford.

‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.

A day is now a very long time indeed in politics; would that it were otherwise. It certainly is in the Ring, as we move forward a generation to Die Walk¸re.

If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.