In review: Kitty Whately & Joseph Middleton at Wigmore Hall

Review

But from Whately's performance, you would never know the extenuating circumstances at play. Her demeanor was calm and elegant, her expression was engaged, and we felt like we were watching someone who just revels in the joy of singing. Together with pianist Joseph Middleton, the two acted as painters together, showing us beautiful scenes in a program inspired by themes of nature.

Familiar stories: A Wedding Reception (gone wrong)

Review

As we finally met the newlyweds, Will & Kate, what stayed funny was the familiarity of the entire scene. The stereotypes were well-chosen, and they allowed the diners some common ground for conversation with their table-mates. The short interactions at the top of the show between "guests" and actors continued to pay off; the audience felt connected and in-the-know with this weird family, freeing them to shout out their two cents at the goings-on. ("What a twat," was one oft-proclaimed phrase from our table.)

In review: Carmen at Nashville Opera

Review

The story is all too familiar: girl meets boy, girl loves boy, when girl changes her mind...boy goes bananas. Carmen is a complicated role that requires both vocal dexterity and superior interpretive choices. Fortunately for us, Nashville Opera's Carmen, Ginger Costa-Jackson, goes above and beyond those requirements. Ms. Costa-Jackson, a native of Italy who has made a name for herself singing the titular role, was enchanting as Carmen.

In review times two: Ensemble Prisma Wien & Bernarda Fink

Review

Ensemble Prisma Wien's debut concert at Wigmore Hall was a successful combination of excellent artists, and the kind of music that seems to flow organically from the group's dynamic. The Ensemble gave us music by Haydn, Schubert and Dvořák, all effortless melodists whose tunes feel as though they've always existed.

In review: Pop Up Opera's I Capuleti e i Montecchi

Review

Pop Up Opera's touring production of I Capuleti e i Montecchi has traveled across the southern UK for nearly a month, and it's impressive that the production, directed by James Hurley, feels at home in its latest London venue. The action takes place in the round, and the cast of five make a handful of forays into the crowd; it's one of the advantages - responsibilities, even - of performing with an audience at arm's length.

In review: Ivan Magrì at Wigmore Hall

Review

You could argue that the recital, packed with songs and arias by Bellini, Donizetti, Verdi, Puccini, and Tosti (with some Massenet for variety), was a one-flavour kind of deal. Yet like the familiar flavours of steak frites, chocolate truffles, and great red wine, what sort of party-pooper could complain?

In review: Exaudi at Wigmore Hall

Review

The 8 voices of EXAUDI sang in varying combinations; their uniform sound stayed interesting, with solo singers trading moments of spotlight. Just as we grew comfortable in their 16th-century sound, well grounded and ringing with overtones, Weeks revealed his stealthy integration of Arcadelt's Primo Libro de' Madrigali and the EXAUDI director's own Libro di fiammelle e ombre. The two composers shared texts - largely by anonymous authors - which live on the blurry line between love, lust, desperation, and death.

ROH's Madama Butterfly: better to be furious than bored

Review

Yet there's something horridly patronising about how Puccini romanticises the Japanese. The music he writes for Cio-Cio San's family at the wedding is purposefully cacophonous, almost laughable sound effects and definitely not the reactions of fully-realised human beings. The story of Madama Butterfly existed before Puccini's opera, but there's a clear attraction to her youth and ignorance, and the idea of "rescuing" her from her "shameful" past as a geisha and making her a proud Westerner, as though in recovery from her savage Eastern upbringing.

In review: Early Opera Company at Wigmore Hall

Review

For a group that plays so much with singers, it was shocking to see how little sensitivity they had towards Bevan and Hulett. We were watching the classy soprano try to make elegant choices in all of her arias, but those five violins were not responding to her well. While they reveled in their long flowing legato lines, they played without breathing or reacting to the singer.

Review: the personal side of Bach's B minor Mass

Review

The mass text exists well outside of the personal experiences of any composer who sets it; yet in the case of Bach, and the amount of sadness that followed him throughout his life, it's not difficult to imagine him speaking these desperate words in his own voice. Bach would consider that a great blasphemy, no doubt. A man almost as famous for his piety as for his music, it's no wonder he devoted himself and his extraordinary work to God.