Renaissance madrigals and twentieth-century social media don’t at first seem likely bed-fellows. However, Martin – the protagonist of The Second Violinist, a new opera by composer Donnacha Dennehy and librettist Enda Walsh – is, like the late sixteenth-century composer, Carlo Gesualdo, an artist with homicidal tendencies. And, Dennehy and Walsh bring music, madness and murder together in a Nordic noir thriller that has more than a touch of Stringbergian psychological anxiety, analysis and antagonism.
Category: Reviews
The Rake’s Progress: British Youth Opera
The cautionary tale which W.H. Auden and Chester Kallman fashioned for Igor Stravinsky’s 1951 opera, The Rake’s Progress – recounting the downward course of an archetypal libertine from the faux fulfilment of matrimonial and monetary dreams to the grim reality of madness and death – was, of course, an elaboration of William Hogarth’s 1733 series of eight engravings.
Prom 71: John Eliot Gardiner and the Orchestre Revolutionaire et Romantique play Berlioz
Having recently recorded the role of Dido in Berlioz’ Les Troyens on Warner Classics, there was genuine excitement at the prospect of hearing Joyce DiDonato performing Dido’s death scene live at the BBC Proms. She joined John Eliot Gardiner and the Orchestre Revolutionaire et Romantique for an all-Berlioz Prom at the Royal Albert Hall on Wednesday 5 September 2018. As well as the scene from Les Troyens, DiDonato sang La mort de Cleopatre and the orchestra performed the overture Le Corsaire and The Royal Hunt and Storm from Les Troyens, and were joined by viola player Antoine Tamestit for Harold in Italy.
ENO Studio Live: Paul Bunyan
“A telegram, a telegram,/ A telegram from Hollywood./ Inkslinger is the name; And I think that the news is good.” The Western Union Boy’s missive, delivered to Johnny Inkslinger in the closing moments of 1941 ‘choral operetta’ Paul Bunyan and directly connecting the American Dream with success in Tinseltown, may have echoed an offer that Benjamin Britten himself received, for the composer had written expectantly to Wulff Scherchen on 7th February 1939, ‘(((Shshshsssh … I may have an offer from Holywood [sic] for a film, but don’t say a word))).’ Ten days later he wrote again: ‘Hollywood seems a bit nearer – I’ve got an interview with the Producer on Monday’.
Young audience embraces Die Zauberflöte at Dutch National Opera
The Dutch National Opera season opens officially on the 7th of September with a third run of Simon McBurney’s production of Mozart’s Die Zauberflöte, an unqualified success at its 2012 premiere. Last Tuesday, however, an audience aged between sixteen and thirty-five got to see a preview of this co-production with English National Opera and the Aix-en-Provence Festival.
Prom 67: The Boston Symphony Orchestra play Mahler’s Third
Mahler and I, at least in the concert hall, parted company over a decade ago – and with his Third Symphony it has been an even longer abandonment, fifteen years. Reviewing can nurture great love for music; but it can also become so obsessive for a single composer it can make one profoundly unresponsive to their music. This was my tragedy with Mahler.
A Landmark Revival of Sullivan’s Haddon Hall
With The Gondoliers of 1889, the main period of Arthur Sullivan’s
celebrated collaboration with W. S. Gilbert came to an end, and with it the
golden age of British operetta. Sullivan was accordingly at liberty to
compose more serious and emotional operas, as he had long desired, and
turned first to the moribund tradition of “Grand Opera” with Ivanhoe (1891).
Die Meistersinger at Bayreuth
Famously, controversy is the stuff of Bayreuth, be it artistic, philosophic or political. As well occasionally a Bayreuth production can simply be illuminating, as is the Barrie Kosky production of Wagner’s only comedy, Die Meistersinger.
The BBC Proms visit Ally Pally
On 25th March 1875, Gilbert & Sullivan’s one-act operetta, Trial by Jury, opened at the Royalty Theatre on Dean Street, in Soho. 131 performances and considerable critical acclaim followed, and it out-ran is companion piece, Offenbach’s La PÈrichole.
Bampton Classical Opera Goes to the Ball
I wonder if Cinderella realised that when she found her Prince she would also find international fame, becoming not just a Princess but also a global celebrity and icon. The glass slipper, placed loving on her shapely foot, has graced theatres, variety halls, cinema screens and opera houses – even postage stamps – and the perennial popularity of this rags-to-riches fairy-tale, in which innocence and goodness triumph over injustice and oppression, shows no signs of waning.