In review: Tannhäuser at ROH

Review

The dancers moved in a constant, fluid canon, the men tirelessly chasing the teasing women, hurling themselves across a long spinning banquet table, trading clothes and bending their bodies like elastic rag dolls. Visually, it was the high point of the production, relaxing into what became a static tale. It's not inappropriate, to place the audience in the shoes of Tannhäuser himself, who goes from the heights of pleasure and excitement, and returns to the mortal world; indeed, no human stimulation would quite meet of Venusberg.

Great nights: The Dream of Gerontius

Review

Coote and Clayton shared perfect moments of acknowledgement from their places on opposite sides of the conductor's podium. She was stunning to watch; she had such specificity on her face, from her almost-shy greeting of Gerontius, to her wise, tour-guide qualities as she takes him through his first moments in the afterlife.

Paris Reflected at Southwark Cathedral

Review

The whole evening was one that urged us to simply close our eyes and listen. It's always refreshing to hear a well-honed orchestra with so much attention paid to the experience, rather than relying simply on the deep roots of traditional classical concert tropes.

In review: Jenůfa with the Czech Philharmonic

Review

As Jenůfa's mother, Kostelnička, Karita Mattila was a total force. She tore into the role's enormous range and horrific moments of drama with her notoriously brazen energy. She sang wildly at moments, yet it was funneled through a perfect character, one who constantly veers outside the comfortable and controlled.

In review: Javier Camarena at Wigmore Hall

Review

This recital was the best use of the "crowd pleasing" tactic. Camarena chose repertoire with which he just couldn't have gone wrong, but he followed up expectation with perfect delivery. It's no wonder that he holds rank along with Pavarotti and Flórez, as the third singer in 70 years to encore an aria at the Metropolitan Opera.

Magic & theatre: Jurowski and OAE's Resurrection Symphony

Review

Jurowski was the centre of the theatre of this piece, a physical chameleon that inspired and listened to the OAE. He took us through startling interruptions, adorable waltzes, and ugly and distorted folk sounds. The shuffling around onstage and in the audience between the first and second movements were decidedly too much, and too much for Jurowski; in a satisfying demand of the floor, he went from the second movement into the third with a forward-march kind of authority that seemed to scream, "order in the house!"

Heavy nights: Schoenberg & Brahms, the LPO and Goerne

Review

It was Goerne that was the highlight of the night. His is one of the most beautiful baritones singing today, and he was a complete picture of expression. His love for Brahms' music was completely clear, and he sang with his whole body in a huge range of colour. You could certainly hear the Lieder singer as he delivered this heavy text; he risked some soft singing, but gave us some of the more satisfying moments of the Requiem with a triumphant, full sound.

In review: Lucia di Lammermoor at ROH

Review

There was Lucia, embodying the most horrible, messy, inappropriate and inconvenient lows in a woman's life. By showing us all these unseen scenes, Mitchell managed to create a real relationship not only between Lucia and Edgardo, but between Lucia and Alisa, sung and acted beautifully by Rachael Lloyd. The gross differences between victory and loss, men's stories and women's, were powerful.

Great nights: Sketches of Miles

Review

The music was stellar, and the vibe was so great that even a momentary power outage mid-"Summertime" didn't dampen the night one bit. It's hard to say what we expected from CLS, but expectations don't matter when the experience holds us rapt and happy.

In review: Isis and Osiris

Review

As Isis, Cesaroni was a revelation. Her incomparable voice flew throughout the Jane Mallett with ease and aplomb, and I've said this before, she just gets better every time I hear her. Her darker colour belies the height and beauty she can achieve at the top of her register and every note is properly placed and spins and sparkles. Her characterization of (as she puts it) "the bad b*tch in charge" was a genuine treat.