Riotous journey to the Underworld

Von Mark Pullinger, 04 Februar 2017

Laden, bitte warten...

Veranstaltung anzeigen

“camper than a row of tents”

Rezensierte Veranstaltung: Hackney Empire, London, am 3 Februar 2017

Offenbach, Orphée aux Enfers (Orpheus in der Unterwelt)

Royal Academy Opera

Gareth Hancock, Musikalische Leitung

Martin Duncan, Regie

Alex Doidge-Green, Bühnenbild

Alys Mererid Roberts, Eurydice

Ilona Revolskaya, Diane

Frances Gregory, Venus

Leslie Bickle, Cupidon

Carrie-Ann Williams, Minerve

Helen Brackenbury, L'Opinion Publique

Hannah Poulsom, Junon

Mikhail Shepelenko, Orphée

Alexander Aldren, Mercure

Dominic Bowe, Jupiter

Alex Otterburn, John Styx

Timothy Murphy, Mars

Richard Walshe, Bacchus

Steve Elias, Choreographie

Die Wahrheit liegt in der Musik: Dido and Aeneas an der Royal Academy

Rainer Zerbst, 27th May

Ein ausdrucksstarkes Dirigat von Elizabeth Kenny und ein grandioses Sängerensemble beeindrucken in London.

***11

The Royal Academy's Carmen has too many what-if moments

Dominic Lowe, 18th November

Presenting a work like Carmen is a punchy move by a conservatoire. The Royal Academy of Music's production has conceptual weaknesses, but features some good singing.

***11

Royal Academy Opera stages a magical Zauberflöte

Mark Valencia, 18th March

A lyrical yet zesty account of Mozart's' adorable score, in a production that is on the nose and off the wall.

****1

A dystopian Hansel und Gretel at the RAM

Mark Valencia, 20th November

Jack Furness serves up an unappetising mess of Humperdinck's delicious masterpiece for Royal Academy Opera.

***11

Keeping it surreal: Martinů double-bill at the Royal Academy of Music

Dominic Lowe, 8th May

With typical spirit, the students at the Royal Academy of Music did an excellent job in bringing Martinů’s Comedy on the Bridge and Alexandre bis to life – two lesser-known pre-war surrealist gems.

***11

Unreal city: The Rake's Progress at the Royal Academy of Music

Benjamin Poore, 22nd November

Frederic Wake-Walker's realisation of the Hogarth-inspired opera is visually bracing and assuredly sung.

****1

Weitere Kritiken...

Mark Pullinger

Mark has been a Bachtrack editor since 2014. He is also an experienced critic, writing hundreds of reviews for the site, as well as a freelancer writing for other magazines and newspapers. He also writes programme notes and blogs on Substack. Mark has a particular passion for the operas of Verdi as well as Russian and French repertoire. Outside the concert hall and opera house, Mark enjoys cooking and travel and is probably at his happiest let loose in a French patisserie or a Viennese coffee house.

Riotous journey to the Underworld: Royal Academy's Orphée in Hackney