In review: Rigoletto at ENO

Review

The night truly went to Sydney Mancasola, in her company debut as Gilda. Her first sounds were clear as a bell, like a sorbet to Rigoletto's dark and murky world. Her singing was polished and thoughtful, with a stunning bloom at the top of her range. Frustrating as Gilda may be - though she comes by her innocence honestly - Mancasola sang with an earnest sound that reminded us of her youth and sheltered existence.

Tarrare the Freak: "I just want to be full."

Review

Why, in the time of CGI and robots, do puppets still retain their magic? The simple answer lies in the puppetry skills of Poster and Nakamura, who pushed their audience to laughter and disgust and pity. Yet the secret seems to lie in the transparency of the art form. The puppeteers were always visible; every set change was done nakedly, the audience in on all the tricks. Instead of spoiling the illusion, it added a second layer of wonder.

In review: Tim Mead & James Baillieu in recital

Review

Mead's sound is truly impeccable. When he sings, it's as if he's insistently speaking, listening to the impact of his words. He listened, too, to Baillieu at the piano. Baillieu, with his warm sound and enpathetic ear, is one of our favourite pianists these days. Baillieu has a knack for creating a soloistic phrase out of a singer's intent; he follows, without losing his autonomy.

In review: Three Way

Review

Exposure to culture so outwardly, unabashedly about sex (whatever form it takes) will very likely challenge the typical Nashville Opera patron (#biblebelt). Three Way manages to take a subject that is most taboo, particularly in the American South, and – I think, I hope – manages to inspire its audiences to a greater understanding of their fellow person…which is something we all super need right now.

In review: La traviata at ROH

Review

The broad-strokes architecture of the opera's four sets are a clean contrast against the ladies' luxurious dresses, even against the messy humanity of Verdi's simple, classic tale of love and the opinions of others. Joyce El-Khoury's Violetta comes with easy charisma, and a strong desire to maintain composure and dignity. El-Khoury matured along with Violetta's story, yet somehow retained a young voice, full of the best intentions. Her third-act aria, "Addio del passato" was the highlight of the night.

In review: #COCFlute sparkles

Review

The second act drops us fully into their world as we follow Tamino, Papageno, and later Pamina through their trials to join Sarastro's order, the union of male and female being pivotal to the outcome. The only thing I missed in this concept was the closing of the metatheatrical envelope. Once the second act started, we never saw the concept established in the first act return to complete the idea.

In review: Written On Skin at ROH

Review

What's most thrilling about this Written on Skin was how the piece itself shone through Mitchell's production. Phrases from the libretto - like "blame her for everything" - leapt out as though shouted; Benjamin's use of the glass armonica - the instrument of "hysteria" - is well-timed and significant. Though it didn't overshadow the human stories of Agnès and The Protector, there was clear commentary on free will, and the cruelty inherent in God's creation of man.

In review: La Colla & Katzarava in recital

Review

At the same time, Wigmore Hall is not conducive to an evening of opera scenes. The two singers seemed to fall into a groove, carved from their respective past performances of Butterfly or Turandot. They seemed to want to fill the recital stage with stuff, making up for the lack of sets and costumes and space, when instead they could have done less, and simply let their voices do the work.

In review: Der Rosenkavalier at ROH

Review

It's as though Richard Strauss envisioned the skill of singers like Renée Fleming and Alice Coote when he wrote that first scene of Rosenkavalier. It's not something that can be properly anticipated, the thrill of watching two exceptional singers perform roles for which they are rightly known.

TOT's Pirates of Penzance: "A glorious thing"

Review

Colin Ainsworth steps out as the hapless, handsome, if somewhat dim-witted Frederic. His bright face matched his clear, sailing tone throughout the house. His protrayal of Frederic's dim-wittedness was presented less as a sheer stupidity or unintelligence and more as absent-minded thoughtlessness which I thought was a strong choice. His chemistry with Mabel and Ruth was tangible through the whole show.