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

The problem with on-stage vulgarity is that, while it might be sophisticated and knowing satire, it ends by being what it is parodying.

The World Premiere at the Edinburgh Festival of The Last Hotel:   a strange and haunting new chamber opera from post-minimilist composer Donnacha Dennehyna and acclaimed writer Enda Walsh with the Crash Ensemble generating exciting rhythmic pulsing energy in the pit. 

Opera North's static production of Monteverdi's The Coronation of Poppea directed by Tim Albery takes place in a murderous psychopath’s private cellar. 

Closing your eyes while listening, you could easily imagine yourself in a gilt-edged salon, with Her Highness Mademoiselle Marie de Lorraine, Duchess of Guise, peer of France, princess of Joinville, hereditary seneschal of Champagne herself sitting not far from you, enjoying and approving every lovely note.

What’s the first thing that comes to mind when you hear the phrase “3D occult mystery film opera”? Because I’ll bet that whatever this makes you imagine is nothing like the reality of composer/director Michel van der Aa and librettist David Mitchell’s Sunken Garden, which debuted at the Barbican last night.

When going to see a new production at ENO, always expect the unexpected. In ENO’s recent history, that has certainly been true, though not always to its credit. Friday’s opening performance of Charpentier’s Medea was no exception to the rule; however, in this case, it was an opulent, stylish and fabulous (in more than one sense) production, complemented by a truly spectacular cast.

In brief introductory remarks, founder and director of Ludus Baroque Richard Neville-Towle outlined three significant features of the performance. The indicated presence of a crib signified that this was to be a devotional performance, and being able to make sense of this is possibly what divides the faithful from the faithless.

ENO's latest première matches a young theatre director with a reputation for cutting-edge drama to one of the earliest operas in the repertoire, in the less-than-conventionally-operatic surroundings of London's Young Vic. It's an improbable combination, and I wasn't at all sure what to expect.