More than The Scream: Dear Edvard

Review

The piece hones in on Munch (Tim McDevitt) who, having admitted himself to a sanitarium, is treated by an impressionable, young nurse (Pearl Sun). Enamored of her celebrity client, she takes charge of his unconventional treatment. In lieu of shock therapy, this fictional version of Munch undergoes a series of role-playing reenactments in order to relive the traumatic events that formed his personality; a conceit no more plausible than say, time travel.

A generous Winterreise at Wigmore Hall

Review

Mitsuko Uchida's playing was beyond beautiful from the very beginning. The music seemed to be a part of her. Her musicianship was flawless, creating a churning winter landscape full of ice and storms. Her playing never lost its relentless energy, driving the story to its inevitable conclusion.

Winning combos: Coote, Drake, & Schubert

Review

They finished the first half with a stirring rendition of Erlkönig, a song which Coote navigated with a wonderful array of vocal colours and a beautiful sense of drama. Drake created a gorgeous picture of the dramatic song through the energy of his playing, the pair bringing to life the scene in an intense and visceral way.

Seasonal opera done right at HGO

Review

Rarely have I ever been able to use the word "effervescent" to describe performances of newly-composed operas, but that is exactly the word I used to describe this one upon its conclusion. This work came as a breath of fresh air. It did not try overly hard to be anything other than a setting of a good story which happened to be set at Christmastime, and that is precisely why I perceive this work as having longevity.

#AtGBound: "A shocking, immediate connection."

Review

A certain type of demographic goes to the opera, and perhaps there's only a small amount of overlap between that demographic and those who may understand more clearly what it feels like to be detained, mistreated, or bound by others' rules.

Reflective stories: RCM's The Cunning Little Vixen

Review

This is what makes The Cunning Little Vixen such a remarkable opera: in watching its complicated and confused characters, ironically half of whom are animals, we see so much of ourselves. Understanding these intricacies and subtleties, the RCM created a production which explored the contradictions and pretenses that comprise being human.

An "astonishing" Bryan Hymel in the Royal Opera's double bill

Review

The singing, in particular, was phenomenal. Elīna Garanča was nothing short of flawless as Santuzza. Her voice was warm, with a steely edge and full of raw emotional power. She made everything she could have out of the character, singing with true beauty and mastery. Opposite her, Bryan Hymel sang a stunning Turiddu.

Opera for all: The Magic Victrola

Review

The Magic Victrola features opera's top-shelf tunes: the Lakmé Flower Duet, Carmen's "Habanera", the infamous "O mio babbino caro" from Gianni Schicchi; perhaps less well-known are the picks that stand for larger operatic truths, like the textbook bel canto of "Quanto è bella" (L'elisir d'amore), the delicious coloratura of the "Doll Song" (Les contes d'Hoffmann), and timeless scenes from The Magic Flute.

Enticing teasers: Winter Shorts

Review

The night consisted of eleven selections from LIBLAB, touching on subjects ranging from the barista's crush on the handsome regular (as a former barista myself, this one rang very true) to a piece inspired by the world-famous photo of the poor Syrian boy found dead in the sand on the beach. It was a range of topics only Tapestry could tackle and pull off successfully.

Left wanting more: ENO's Marnie

Review

I wasn't convinced this particular story was served well by becoming an opera. The sense of suspense and unease which characterises the film didn't transfer onto the stage at all. Particularly, the climactic scene of the novel, a hunt on horseback, seemed somewhat stunted. It was very creative and clever staging, with projected horses running and action on stage from dancers.