Everybody loves David: Handel’s Saul at Glyndebourne

Por Charlotte Valori, 20 julio 2018

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“Markus Brück’s ambitiously dramatic Saul bristles with pent-up rage from the start”

Crítica hecha desde Glyndebourne Opera House, Glyndebourne el 19 julio 2018

Handel, Saul

Glyndebourne Festival Opera

Laurence Cummings, Dirección

Barrie Kosky, Dirección de escena

Katrin Lea Tag, Diseño de escena, Diseño de vestuario

Markus Brück, Saul

Iestyn Davies, David

Allan Clayton, Jonathan

Karina Gauvin, Merab

Anna Devin, Michal

Stuart Jackson, Abner, High Priest, Doeg

John Graham-Hall, Witch of Endor

The Glyndebourne Chorus

Orchestra of the Age of Enlightenment

Otto Pichler, Coreografía

Glyndebourne revives Michieletto’s Kátya Kabanová

Mark Valencia, 3rd August

Damiano Michieletto’s production of Janáček’s opera breaks a key tenet of high-concept opera: where it should reveal, it obfuscates.

***11

All the world’s a jest: Falstaff returns to Glyndebourne

Mark Pullinger, 23rd July

Richard Jones' 2009 production returns to Glyndebourne after a long absence, but the 1940s comedy scrubs up fresh.

***11

A strong new Figaro opens at Glyndebourne

Dominic Lowe, 29th June

Mariame Clément is a popular director at Glyndebourne, and her new production of Figaro shows her trademark approach to hardhitting comedy.

****1

Glyndebourne's Saul still packs a punch 10 years on

Nick Boston, 8th June

Returning from the original run, Christopher Purves and Iestyn Davies were joined by a strong cast and chorus for a revival of Barrie Kosky's striking production.

*****

Unhurried suspense in a very English Parsifal

Peter Quantrill, 17th May

Compelling singers carry the day in the Glyndebourne Festival Opera's first staging of Wagner’s swansong.

****1

Glyndebourne’s season opens with Rossini’s Barber of Seville

David Karlin, 16th May

Annabel Arden’s production provides joyous comedy, with vocal and orchestral performances of the very finest.

*****

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Charlotte Valori

Charlotte Valori read Classics at Christ Church, Oxford. As a classicist, her main interest is Greek tragedy and its reception by later cultures, which has led to a continuing passion for theatre and opera. Charlotte reviews for several online magazines, and won the Bachtrack Opera Award 2015 for Best Written English Review. Follow her on Twitter @operissima.