It was a little early, perhaps, to be hearing ‘Easter Voices’ in the middle of Holy Week. However, this was not especially an Easter programme – and, in any case, included two pieces from Gesualdo’s Tenebrae responsories for Good Friday. Given the continued vileness of the weather, a little foreshadowing of something warmer was in any case most welcome. (Yes, I know: I should hang my head in Lenten shame.)
Category: Reviews
Academy of Ancient Music: St John Passion at the Barbican Hall
‘In order to preserve the good order in the Churches, so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion.’
Fiona Shaw’s The Marriage of Figaro returns to the London Coliseum
The white walls of designer Peter McKintosh’s Ikea-maze are still spinning, the ox-skulls are still louring, and the servants are still eavesdropping, as Fiona Shaw’s 2011 production of The Marriage of Figaro returns to English National Opera for its second revival. Or, perhaps one should say that the servants are still sleeping – slumped in corridors, snoozing in chairs, snuggled under work-tables – for at times this did seem a rather soporific Figaro under Martyn Brabbins’ baton.
Lenten Choral Music from the Choir of King’s College, Cambridge
Time was I could hear the Choir of King’s College, Cambridge almost any evening I chose, at least during term time. (If I remember correctly, Mondays were reserved for the mixed voice King’s Voices.)
A New Faust at Lyric Opera of Chicago
Lyric Opera of Chicago’s innovative, new production of Charles Gounod’s Faust succeeds on multiple levels of musical and dramatic representation. The title role is sung by Benjamin Bernheim, his companion in adventure MÈphistophÈlËs is performed by Christian Van Horn.
Netrebko rules at the ROH in revival of Phyllida Lloyd’s Macbeth
Shakespeare’s Macbeth is a play of the night: of dark interiors and shadowy forests. ‘Light thickens, and the crow/Makes wing to th’ rooky wood,’ says Macbeth, welcoming the darkness which, whether literal or figurative, is thrillingly and threateningly palpable.
San Diego’s Ravishing Florencia
Daniel Cat·n’s widely celebrated opera, Florencia en el Amazonas received a top tier production at the wholly rejuvenated San Diego Opera company.
Samantha Hankey wins Glyndebourne Opera Cup
Four singers were awarded prizes at the inaugural Glyndebourne Opera Cup, which reached its closing stage at Glyndebourne on 24th March. The Glyndebourne Opera Cup focuses on a different single composer or strand of the repertoire each time it is held. In 2018 the featured composer was Mozart and the Orchestra of the Age of Enlightenment accompanied the ten finalists.
Handel’s first ‘Israelite oratorio’: Esther at the London Handel Festival
It’s sometimes suggested that it was the simultaneous decline of the popularity of Italian opera seria among Georgian audiences and, in consequence, of the fortunes of Handel’s Royal Academy King’s Theatre, that led the composer to turn his hand to oratorio in English, the genre which would endear him to the hearts of the nation.
Probing Bernstein and MacMillan double bill in Amsterdam
The Opera Forward Festival (OFF) in Amsterdam is about new things: new compositions, rediscovered works and new faces. This year’s program included a double bill produced by Dutch National Opera’s talent development wing. Leonard Bernstein’s portrait of a miserable marriage in affluent suburbia, Trouble in Tahiti, was the contrasting companion piece to James McMillan’s Clemency, a study of the sinister side of religious belief.