In review: The Barber of Seville at ROH

Review

In theory, having a cast of big, hall-filling voices can seem like a pointless exercise (a futile precaution?), when the whole opera is designed to clear the way for easy, flexible, and funny singing. Yet this cast was a complete win from top to bottom; as they each sang their first notes of the evening, we were struck (and satisfied) with how these rich, go-big-or-go-home voices managed everything from dizzying coloratura to cackling comedy.

In review: Hannigan & Gražinytė-Tyla at the BBC Proms

Review

Abrahamsen's score is full of novel and surreal sounds, including an extraordinary moment of what feels like a heavenly choir and orchestra, shimmering with texture and treats for the ear. Throughout the score is a vocal motif, stretching words through repeated syllables, almost like a slow-motion version of a Baroque goat-trill.

In review: Béatrice et Bénédict at Glyndebourne

Review

In the great gag scenes with the Glyndebourne Chorus, Lionel Lhote was a big bite of extra comedy as Somarone, the music master. Lhote seemed a delightful buffo combination of the Komponist from Ariadne auf Naxos, Bottom from A Midsummer Night's Dream, and Bartolo from Il barbiere di Siviglia.

In review: A Midsummer Night's Dream at Glyndebourne

Review

The royal fairy pair were delightfully complemented by David Evans as Puck, who was one part eerie, and one part utterly charming. He brought the audience to roaring applause at the finale, after an evening of chuckles and smitten murmuring from the crowd.

In review: The Threepenny Opera

Review

Singing curse words and unromantic sex are still relatively rare on the opera stage, even if the stories themselves are full of the same amount of emotional extremes. Whether or not you're the type to point at "gratuity" or "shock value," what Norris' production achieves is a totally organic theatre experience. At times the whole thing feels like meta-theatre, and other times the action holds you rapt.

In review: The Rape of Lucretia at TSMF

Review

In the title role, mezzo-soprano Emma Char, was every bit of the descriptions we hear of Lucretia at the beginning of the show. Delicate, pure, and lovely on stage, she had a groundedness that I really enjoyed. The whole space seemed to calm down when she stepped on stage - which was made all the more thrilling when her character shifts to a darker place after the events of Act II.

In review: Tristan and Isolde at ENO

Review

Tristan's ship was full of looming angles and barriers, allowing for beautiful symmetry of the two would-be lovers and their respective servants. Act II seemed an otherworldly spot for Tristan and Isolde's nocturnal tryst; it looked like its own planet, or perhaps the very center of the earth, in either case clearly underlining the singular, primordial ur-love that this couple embodies. Act III was bleak, harsh white against thick black, evolving only to blood red and a charred vista of dead rock, where Isolde and Tristan reunite in life for the last time.

Die Fledermaus? Die Fleder-fabulous!

Review

Guys, this is a great kickoff to summer. It's campy, it's fun, there's free beer and snacks. It's exactly the way I think that Strauss II would want to see it performed in this day and age. Seriously, get a group of you together, buy some tickets and go literally have a ball. And even though we all hate audience participation (usually), trust me when I say the more you throw yourself into the scene, the more fun the show will become.

Recitals that stick: Matthias Goerne at Wigmore Hall

Review

The character of the poet became more completely fleshed out with the Wolf, Shostakovich, and Brahms. It was almost like fan fiction, a satisfying sequel to Schumann's cycle that ends ambiguously and seemingly without resolve. Goerne's singing of the Brahms Ernste Gesänge' left us heavy in our seats, the most stunning of which was his "O Tod," half lullaby and half prayer.

In review: Rocking Horse Winner

Review

As the autistic son, Paul, Asitha Tennekoon is a revelation. His beautiful leggiero tenor was perfect for playing the delicate Paul. It bridged the gap between full Mozart opera and contemporary musical theatre. But to be honest, his acting is the reason to see this show. I've been watching Asitha grow as a performer over the last couple of years and I have to say that this could literally be a breakout role for this young man. It was endearing, truthful, and raw.