Tag Archives: Stuart Stratford

2017, my musical year in review

31 Dec

2017 reviewThe last time I wrote a blog post, Donald Trump had just become President of the USA, which pretty much prefigured the chaos and confusion of the last twelve months. But being on the door step of a possible nuclear obliteration is a good time to look back to all the joyful artistic experiences that made it from bearable to outright gorgeous.  Since I lazily put together a short list of favourites from the last twelve months in response to Fiona Maddocks’ review, thought I’d publish them here with a few additions. In many ways it has been a remarkable year and have been very lucky to have been to so many stimulating performances.

The programming of the Royal Opera left quite a lot to be desired for half of the year which brought down the number of performances attended considerably. Also managed to be at Semiramide on the night that Joyce DiDonato was unwell, which made it a rather staid evening. Sadly with the crazy prices I didn’t manage to see it another time. 

Also promised myself not to darken the doorstep on ENO until the utterly useless leadership steps down, I’m getting my wish next year so will be keeping an eye their way and hopefully see them make progress and who knows maybe one day they will manage to perform a bit more frequently as the current status quo is a long term road to oblivion.

The smaller companies made quite an impact, Welsh National Opera was programming a lot of crowd-pleasers aside to more esoteric repertoire showing David Pountney’s capability in keeping a company in the black but also making sure it offers something for the neophyte but also adventure to the seasoned punter.

Scottish Opera seem to be out of the woods artistically after a couple of challenging years. The two performances I attended were absolutely gripping, the appointment of Stuart Stratford is clearly making a difference. 

Grange Park semi-built a new opera house in the enchanted surroundings of a 17th century manor house, even if the dreadful Joanna Lumley was needed to cajole more money for their new toilets. Based on the description by Wasfi Kani I’m expecting a miniature Roman Coliseum with urinals.

Over at Glyndebourne I managed to compress my three customary visits to a long weekend but was rewarded by some exceptional performances that even made me ignore the absolutely pointless staging of Ariadne auf Naxos that despite prior announcements, not many changes happened and we ended up with the most glorious singing in the service of a production that is both obvious and totally missing the dramatic arc of Strauss’ masterpiece.

Holland Park Opera put another strong season with very well cast younger singers making their stage bubble with enthusiasm. 

•Le Grand Macabre with the LSO and Rattle in January was a fantastic way to blow away the cobwebs with Simon Rattle conducting a blistering account of this demanding score with a London Symphony Orchestra rewarding him with pinpoint accuracy and crystalline clarity. 

Bryan Hymel’s blistering Turiddu and Canio on the opening night of Cavalleria Rusticana and Pagliacci at Covent Garden. When I saw him two weeks later he was even better!

•Elīna Garanča‘s very intense and in many ways against the grain Santuzza was a revelation in Cavalleria Rusticana who added much needed nuance to this fantastic production.

Lisette Oropesa’s turn as Lucia bettered what can be done with Katie Mitchell’s production bringing clarity and vocal prowess. Her Lucia was young, but deep, and as far removed from pointless vocal pyrotechnics and “identikit madness” acting as possible. 

The spectacular young cast including Natalya Romaniw, Jason Bridges and Nicholas Lester for Welsh National Opera’s Onegin was a joy, bringing back that most important ingredient of Tchaikovsky’s immense achievement, youth, to the foreground. 

Lise Davidsen’s dark hued Ariadne at Glyndebourne was definitely a confirmation of great promise and an unforgettable evening. Her magical performance made us forget about the truly pointless production which deserves to be shelved without trace. 

The unbrittled orientalism with a side of contemporary criticism for Cavalli’s Hipermestra at Glyndebourne made the unfamiliar accessible and gave a great vehicle for with many young singers, including Emőke Baráth, Benjamin Hulett, Anthony Gregory and David Webb making their mark.

The luxurious Magda of Elizabeth Llewellyn at Opera Holland Park’s La Rondine was balm for the soul on a warm summer’s evening. A tremendous singer that gives insightful readings of roles wrapped up with her sparkling personality.  

The brutal Jenůfa at Grange Park was a great achievement, a true psychological thriller from start to finish. The intensity of Natalya Romaniw and the set chewing vim of Susan Bullock made this a true highlight of the year.

Another Holland Park triumph for the great singing actress Anne Sophie Duprels in Zazà. She is truly the house diva and she delivers in spades every time. Have never walked away from one of her shows less than shaken. Make sure you catch her when she returns in Mascagni’s Isabeau

Brett Dean’s Hamlet at Glyndebourne was blessed with an amazing cast including Allan Clayton, Sarah Connolly and Barbara Hannigan. I was not quite as enamoured with the ridiculous writing for the Counter-tenors but the overall effect was one of a major new work that would benefit from some small revisions to make it dramatically even tighter.

•Joyce DiDonato’s intimate concert at the Wigmore Hall with the Brentano Quartet was a suitably magical end to the year. A programme that included Strauss and Debussy was crowned by Jake Heggie’s song cycle based on the life story of sculptor Camille Claudel written for her in 2012. It was musical communication of the highest order, every breath mattered and it added meaning to every word. Have a listen to the two encores I recorded on the night to have an idea of the level of engagement and togetherness of audience and performer. 

 

Thanks for reading and I will wish you all a tremendous year ahead, even if we have to make even more concerted effort to make it so.

 

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