In review: the JPYA summer performance

Review

The audience's favorite seemed to be a duet between Francesca Chiejina and Thomas Atkins from L'amico Fritz - their two strong voices were very well matched to each other and each full of character and vibrancy. The pair had some of the best chemistry on stage, everyone grinning at Chiejina's sultry consumption of a cherry.

In review: The Cradle Will Rock

Review

Thanks to this production, I am ready, as a devotee of Blitzstein’s work, to let go of Marc on the piano stool and allow his authorial Authority to grow, to allow the ongoing struggle to reconcile Power, Authority, and Truth to be carried forward through the lens of a conductor’s vision. I encourage everyone else to witness as Blitzstein’s powerful orchestral Cradle at last begins to earn its rightful Authority by catching this production while the paint’s still wet.

Don't miss: Kaufmann at the movies

Review

Kaufmann, in a terribly cute red convertible and colourful shoes, takes a tour along the Italian coastlines. The German tenor tells stories of his childhood visits to Italy with his family, and connects his life in opera - Italian and otherwise - with the culture and lifestyle he grew to love.

In review: Mitridate, re di Ponto at ROH

Review

Overall, the quality of the production was incredibly high. It was visually stunning, particularly the unusual costuming. The aesthetic and movement choices of the production did inspire some conflict in me though. It was fantastic to see such a bold exploration of gender fluidity and campiness fearlessly played out with the costuming and physical characterisation of the singers. I also loved the aesthetic value of the costuming and set - the rich colours really brought this over-the-top world to life.

Thrilling nights: Szymanowski & Orff with the TSO

Review

The TSO played both scores beautifully. With sensitivity to soloists (Benedetti included) they brought all the volatility and humanity to these two scores - something that was prevalent in the writing of the 1930s - to the forefront with skill and unparalleled technique.

In review: Suffragette

Review

Director Jessica Derventzis opened The Boatswain's Mate with a rousing British chorale vigorously waving Canadian Flags, Gay Pride Flags, and Trans Pride Flags - only to not introduce a single queer character. It seemed disjointed, out of place, and kind of pandering. While I respect that there are queers all over this industry, if you're going to wave our flags in your opening number of your show, we should at least be in the show somewhere. Ultimately, I felt like Dame Ethel Smyth's suffragette mentality and protest spirit was missing in the material.

In review: Hamlet at Glyndebourne

Review

Allan Clayton was sensational in the title role. From the first scene we get a sense that he is a black sheep to the rest of the royal family, and in the two acts of the opera he is in a constant state of unhinge - sometimes he is laughing and enjoying life with Horatio, but one comment from Gertrude can set him off into a frenzy. Clayton played Hamlet on the brink of a breakdown without sacrificing the beauty in his vocal production.

Josephine and The Artizans' HipHopera: Act II

Review

Above it all, Josephine's voice soars. Hardcore opera fans may have a tough time with JATA's almost instrumental use of the voice - its function melodic, a unique ingredient in their music's texture - yet it's a testament to Josephine's savvy straddling of classically-inspired songwriting and producing work that has commercial appeal.

In review: Miss Hope Springs at Wigmore Hall

Review

It's difficult to come up with any artists who have recently graced Wigmore Hall who have that same power - whose mere entrance can rile up a crowd, who doesn't even have to play a note to have us on the edge of our seats. This is the kind of magical ability that classical performers should be trying to discover.

In review: The Seven Deadly Sins at TSO

Review

Ivany seems to take a different tack with their relationship. It almost seems this time around as though Anna I (the singer) is actually part of Anna II's (the dancer) demise. She seems to be the one encouraging her sister to indulge in the seven sins in order to make their money. #CouPIMPgh.