En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Musica Poetica

A musically sensitive account of Monteverdi’s Poppea, with simple staging and 1950s costumes, sees singing triumph noticeably over the relative theatrical inexperience of HGO’s talented young cast. 

A brilliant modern revisioning by Genevieve Raghu, in a superb contemporary translation by Benjamin Hamilton, makes Don Giovanni feel more relevant than ever for the Tinder generation and their disposable approach to love. 

Hampstead Garden Opera’s new staging of Xerxes is slick and contemporary with a well thought-out re-interpretation of the plot, offering a fresh perspective to the opera.

La Calisto is a delicious mash-up of two classical legends: Jupiter’s seduction of Diana’s acolyte Calisto and Diana’s own romance with the shepherd Endymion. The plot is helter-skelter, Anne Ridler’s translation of Giovanni Faustini’s libretto is sassy and fun. I can’t imagine being more entertained by an evening’s chamber opera.

What do you go to the opera for? The question has a thousand answers, but if you’re going to Mozart’s Marriage of Figaro, the chances are that you’re expecting some frothy romantic comedy, some elegant music and a bunch of tunes that will stay in your head when the show is over.

There’s something pretty special about going to see one of the very first operas ever written. It’s particularly special if you love the rhythms of renaissance dance music, the harmonies of polyphonic choral music and if, as I am, you are an admirer of Claudio Monteverdi’s vocal writing: it’s quite plausible to argue that he remains unmatched in his ability to spin a beautiful vocal thread and wea

Set in the wonderful theatre upstairs at the Gatehouse pub in Highgate, Hampstead Garden Opera’s new production of L’Orfeo by Monteverdi contained some memorable images and richly resonant chorus passages.

Production director Daisy Evans welcomes her audience to Così fan tutte set in October 1943 in Sicily. The set (designed by Katharine Heath) is intriguing, with three propellers along the back wall of the performance space and a small stage at the side set up for an Ensa troupe. However, concerns about the pitfalls of “concept” productions were confirmed from the start.

When the king of the gods falls head over heels in love with you, seriously bad stuff happens. If you're a Handelian soprano like Semele, however, it happens very tunefully and in a thoroughly pleasant, elegant and cheerful manner for the whole evening.If you're confused as to the difference between opera and oratorio, Semele is the perfect aid to your confusion.

No wonder the 1744 audience was shocked by this “oratorio” which, far from drawing on Biblical themes, displays before us the sexual misdemeanor of the immortal Jove, with a mortal, Semele.