I’ve just spent three days at the Verbier Festival, immersing in chamber music performances at various mountainside locations 1500metres above sea level. I don’t listen to anywhere near as much chamber music in London when I’m home. I’m never in the right headspace.
I knew Martha Argerich’s Prom with Daniel Barenboim and the West-Eastern Divan Orchestra would be long sold out, but the intrepid ticket ninja in me hoped that a return may have sprung up on the website. It was then I stumbled upon this year’s wheeze.
Idomeneo is still something of a 'Cinderella' among Mozart's operas, yet Graham Vick is about to direct it for the third time. What draws him back to it?
Budapest Festival Orchestra; Iván Fischer; Ákos Ács; Lucy Crowe; Barbara Kozelj; Jeremy Ovenden
Rossini: Il barbiere di Siviglia (The Barber of Seville)
Modestas Pitrenas; Latvian National Opera; Ieva Kaulina; Kristīne Pasternaka; Inga Šļubovska-Kancēviča; Evija Martinsone
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Zurich Opera and Ballet present seasons packed with new productions of dark works that are dominated by myth, magic or sacrifice. From Greek myth to magic bullets to giving up the one you love, it’s a powerful season destined to move Swiss audiences.
Elgar is placed at the heart of the Bournemouth Symphony Orchestra’s programming next season, putting him very much into a European context.