Welsh National Opera
Committed performances – but who was the granny? Northern Ireland Opera’s Eugene Onegin reviewed
It’s a critic’s job to pick holes in the dafter aspects of opera productions, but in truth audiences are usually…
WNO sinks an unsinkable opera: The Magic Flute, at Birmingham Hippodrome, reviewed
As stage directions go, the The Magic Flute opens with a zinger. ‘Tamino enters from the right wearing a splendid…
A fine cast, superbly conducted – just don't overthink the production: Royal Opera's Lohengrin reviewed
To be a Wagnerite is to enter the theatre in a state of paranoia. Mainstream culture has decided that Wagner…
Eurotrash Verdi: ENO’s Luisa Miller reviewed
Verdi’s Luisa Miller is set in the Tyrol in the early 17th century, and for some opera directors that’s a…
More Grace Kelly than Grace Jones: Welsh National Opera’s Carmen reviewed
How do you take your Carmen? Sun-drenched exotic fantasy with a side order of castanets, or cool and gritty, sour…
Deft humour and daft imagery: WNO’s Magic Flute reviewed
Operas are like buses. Both are filled with pensioners and take ages to get anywhere, but more importantly they always…
How good really was Berlioz?
Hector Berlioz was born on 11 December 1803 in rural Isère. ‘During the months which preceded my birth my mother…
This new opera had the audience in tears
‘So you’re going to see the gay sex opera?’ exclaimed my friend, open-mouthed. People certainly seem to have had some…
Cruel and absurd: WNO’s Barber of Seville reviewed
‘Forget Downton Abbey!’ exhorts David Pountney in the programme for Figaro Forever, Welsh National Opera’s season of Beaumarchais operas, The…
Half-brilliant, half-bewildering: Peter Pan at Welsh National Opera reviewed
In Beryl Bainbridge’s novel An Awfully Big Adventure the producer Meredith Potter issues a doughty injunction on the subject of…
ENO’s The Girl of the Golden West is irresistibly seductive
Puccini’s La fanciulla del West is, one suspects, one of those works that modern audiences struggle to keep a straight…
Robo-Tell hits Welsh National Opera
Is there a fundamental, insuperable problem with staging Rossini’s Guillaume Tell on a budget, without the resources to conjure up…
WNO's production of Schoenberg's Moses und Aron is an overwhelming experience – but make sure you close your eyes
On paper, Moses und Aron might seem intractable and abstract: a 12-tone score setting a libretto that meditates on God,…
Opera's fallen women
Opera’s grim fascination with ‘fallen women’ — as Welsh National Opera has called its latest mini-season — lies largely in…
Manon Lescaut is twerking — should we applaud or shudder?
Last seen clambering over the MDF wheelchair ramps of Laurent Pelly’s Royal Opera House production of Jules Massenet’s opéra comique,…
The state of opera today (it's not good)
I’ve been hoping that in this, the last of my weekly columns on opera, I would be able to strike…
