Friday 27th January, Covent Garden
Written on Skin was, to me, quite mystifying – both in itself and the rave reviews. Quoth the ROH: “Since its premiere at the Aix-en-Provence Festival in 2012 it has been performed worldwide in numerous productions, to widespread acclaim”. The Guardian and The Telegraph reviews of the 2013 production, for example, corroborate the excellent reception (“a musical masterpiece” and “music of genius”, respectively). Continue reading “Written on Skin at the ROH”
The 9th June performance of Nabucco at Royal Opera House was a special treat, especially considering Placido Domingo’s age. A giant among tenors and a living operatic legend, Domingo was Nabucco, an aging king betrayed by a domineering adopted daughter, Abigaille. Continue reading “Nabucco with Placido Domingo at the Royal Opera House”
“Don Giovanni, a cenar teco m’invitasti, e son venuto…”
It was with a nervous step that I entered Akko, former Crusaders’ courtyard and location for the night’s performance of Don Giovanni. Continue reading “Don Giovanni, Acre”
Watching the opera in the middle of the Judean desert is a totally unique experience. Michal Znaniecki’s interpretation of Verdi’s La Traviata saw the “desert of Paris” relocated to Masada, the ancient fortification of Herod the Great that borders the Dead Sea and is now a UNESCO world-heritage site. Continue reading “La Traviata, Mount Masada”
And so was I taken away by the irresistible twister of a last minute invitation to Covent Garden. Yes, nothing’s good enough to resist cancellation for a seat at the Royal Opera House.
Continue reading “La Fille du Régiment and Kiri Te Kanawa’s Birthday at the Royal Opera House”
Wozzeck, is by no means a normal opera. Yet it includes all the quintessential themes we love and hate. Love, murder, rape, death just to name a few all interwoven into Berg’s eery setting of a German doctors surgery in the 1920s.
Continue reading “WOZZECK, Royal Opera House”
“Sigurd!” they cry out and by God they’ve done it again: I’ve goosebumps from the fantastically high pitched and heart rendering pain that emanates from the voice of the soprano, Anna Caterina Antonacci, singing the voice of Brunehild’s love and anguish.
Continue reading “Reyer’s Sigurd at the Opera House, Geneva”
Every young girl wants to believe in a fairy tale ending, a concept that Hollywood has not only over-commercialized but stereotyped into an almost generic formula. Thus it was with heart-rending pleasure that I found myself transported back to my childhood notions of make-believe in Il Barbiere di Seviglia at the Teatro Real in Madrid whilst reveling in Rossini’s farcical melodramma buffo.
Continue reading “A night at the opera: Rossini’s Il Barbiere di Seviglia”