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.

In review: Chris Thile at Wigmore Hall

Review

The virtuosity of his mandolin playing reminded us of the pristine coloratura of singers like Marilyn Horne or Joan Sutherland - every note is perfect, and every note has purpose. We hear every note in its exact place, and even as Thile was playing in just one voice, we heard how the harmony progressed.

In review: The First Commandment

Review

"Flaws" like an overly thick orchestration, or a vocal tessitura that is relentless and awkward, are what thrill the lovers of music history; it's indicative of just how much of a genius Mozart was, that moments of orchestra imbalance or slightly less organic melodies - largely harmless in the big picture - seem the "rudimentary" product of 11 year-old Wolfgang.

In review: Daniels & Katz at Wigmore Hall

Review

With a career that started twenty-five years ago, singing entirely different from our patriarchs of Alfred Deller and James Bowman, Daniels is responsible for growing what was once a niched zoo animal of a fach into one to stand up with the rest of them. In doing so, he has set the bar extremely high for countertenors, to a standard to which he continues to hold himself.

"Kinder schafft neues": Die Meistersinger von Nürnberg

Review

Die Meistersinger is a story about tradition, and whether or not it's good for anything; it exposes how people treat tradesman differently from artists, and the contempt that makers of "high art" can have for the opinions of the general public. Holten's production seems to shine extra light on the tradition of using women as prizes, even complicating the matter with an Eva Pogner who doesn't even get the chance to manipulate the system to her own advantage.

In review: Sondra Radvanovsky's stunning London recital debut

Review

Looking around the crowd in Cadogan Hall, we've never seen so many people wiping their eyes or stifling sniffles. Radvanovsky pairs truly excellent singing with her whole heart and soul; she's honest and candid with her audiences, and with that bridge of personal connection come all the listeners' waterworks.

In review: Partenope at ENO

Review

There's no envy on our end for directors who put up Handel operas, and Partenope seems another which poses tricky dramaturgical questions; the biggest of these is the problem fo where these characters are, and why they share a common space. Alden's open-house concept, where everyone seems to hang out chez Partenope, works well; he finds an organic way to waver between real-time action and inner monologues, as though he hits "pause" and "play" on the general timeline of the story.

In review: LPO presents St. Luke Passion

Review

What struck us most about this performance was how clear these characters appeared to this modern audience. The passion is truly a timeless story, and to see these thousand-year-old character’s come to life in an extremely relatable way is why we yearn to keep seeing passions performed.