Opera
![Gaelle Arquez as Carmen in Barrie Kosky's production at the Royal Opera. [Photo: ROH / Bill Cooper]](https://www.spectator.com.au/wp-content/uploads/2018/12/Opera.jpg?w=410&h=275&crop=1)
Kosky’s Carmen is still the smartest show in town – and the most fun
It’s December, and while musical theatre is busy celebrating ‘warm woollen mittens’, opera, as usual, is far more interested in…
This Boccanegra is not what you’d expect from UK’s best-funded opera company
The People are angry. In fact, they’re bloody furious. As the lights flash up on David Pountney’s production of Prokofiev’s…
Real psychological horror and a mesmerising heroine: ENO’s Lucia di Lammermoor reviewed
How do you solve a problem like Lucia? Murder, madness, abuse, possibly even incest, all set to a soundtrack of…
In praise of the English Touring Opera — a minor miracle of the arts world
Wolverhampton; Workington; Blackburn; Sheffield; Lancaster; Hackney. Every year English Touring Opera does what our national opera company doesn’t: packs up…
Thrilling, heartbreaking music drama – you need to see it: ENO’s Porgy and Bess reviewed
Gershwin’s Porgy and Bess springs to life fully formed, and pulls you in before a word has been sung. A…
I genuinely liked Siegfried – which almost never happens: Royal Opera’s Ring cycle reviewed
‘On Brünnhilde’s rock I drew the breath that called your name; so swift was my journey here.’ It’s Act Two…
![A woman-child of dangerous assurance: Allison Cook as Salome in Adena Jacobs’s new production for English National Opera. [Catherine Ashmore]](https://www.spectator.com.au/wp-content/uploads/2018/10/6Octopera.jpg?w=410&h=275&crop=1)
A fascinating failure, but a failure nonetheless: ENO’s Salome reviewed
Yes, Oscar Wilde never wrote it. No, Strauss didn’t intend it. In fact, the composer famously demanded the Dance of…
Opera North’s Tosca will leave you quivering
At the end of Act Two of Tosca there are some 30 bars of orchestral music — accompaniment to a…
Magnificent: Vanessa at Glyndebourne reviewed
‘Outside this house the world has changed. Life is swifter than before; there is no time for idle gestures.’ Anatol,…
Thrilling energy & humour from Longborough Festival Opera: Ariadne auf Naxos reviewed
‘They’ve dined well, they’ve drunk their fill, their brains are dull and slow. They’ll sit snoozing in the dark until…
Vexing reading of a perplexing opera: Glyndebourne’s Pelléas et Mélisande reviewed
The femme fatale was invented in France. A giddy, greedy child in her first incarnation, as the antiheroine of Abbé…
Sexy hints of affluence with top notes of fascism: Grange Park’s Roméo et Juliette reviewed
Patrick Mason’s new production of Gounod’s Roméo et Juliette reminded me of something, but it took a while to work…
A fun evening that finished early enough for dinner – neither a given in Handel
On a sward of AstroTurf somewhere off Silicon Roundabout, Mountain Media is hosting its summer party and, well, it’s the…
Longborough continues to be a refuge for British Wagnerians fleeing idiotic productions
Longborough Festival Opera, refuge for British Wagnerians fleeing unidiomatic musical performances and idiotically irrelevant and insulting productions, has rounded off…
Glyndebourne’s Der Rosenkavalier never forgets to be funny
‘Comedy for music by Hugo von Hofmannsthal. Music by Richard Strauss.’ That’s what the creators of Der Rosenkavalier wrote on…
Much is routine – and a fair amount is worse: Glyndebourne’s Madama Butterfly reviewed
There is no such thing as a moderately good performance of Madama Butterfly, or, to be more precise, it’s not…
A delicious operatic ragout of horror: Lady Macbeth of Mtsensk reviewed
There is famously no door into the late-night diner of Edward Hopper’s ‘Nighthawks’. Its three silent patrons are trapped behind…
This Hansel and Gretel has ‘classic’ stamped all over it
It’s been a good couple of weeks for cuddly toys in opera. A big floppy Eeyore is the only comfort…
At last, a great achievement at the Royal Opera: Macbeth reviewed
At last, a great time at the Royal Opera: a magnificent performance, in every way, of Verdi’s Macbeth, curiously but…
ENO’s La traviata was so comprehensive a flop that it is painful to go into detail
Handel’s Rinaldo has not been highly regarded even by his most ardent admirers. I have never understood why — even…
What’s in a name
Janacek is the master of the operatic title. Think of the slippery, sleight-of-hand emphasis of Jenufa in its original Czech…
A mischievous, daring production that produces the goods: Iolanthe reviewed
‘Welcome to our hearts again, Iolanthe!’ sings the fairy chorus in Gilbert and Sullivan’s fantasy-satire, and during this exuberant new…
Yet another dud Un ballo in maschera: Opera North’s new production reviewed
A chaste act of adultery and a silent conversation: these are the encounters at the heart of Un ballo in…
Royal Opera’s Tosca is a sloppy affair
One of the Royal Opera’s greatest virtues is the care it takes with its revivals, even those that are virtually…
More than ever, this was Ulysses’ show: Royal Opera’s Return of Ulysses reviewed
Spoiler alert: the final image of John Fulljames’s production of Monteverdi’s The Return of Ulysses at the Roundhouse is haunting.…
