Enchanted Wood: dream of a Dream

Por Mark Pullinger, 12 agosto 2016

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“Tim Mead's Oberon has a cool glint to the top of his register, but gorgeously honeyed lower notes”

Crítica hecha desde Glyndebourne Opera House, Glyndebourne el 11 agosto 2016

Britten, A Midsummer Night's Dream

Glyndebourne Festival Opera

Jakub Hrůša, Dirección

Peter J. Hall, Dirección de escena

John Bury, Diseño de escena

Liz Bury, Diseño de vestuario

Tim Mead, Oberon

Kathleen Kim, Tytania

Benjamin Hulett, Lysander

Duncan Rock, Demetrius

Elizabeth DeShong, Hermia

Kate Royal, Helena

Michael Sumuel, Theseus

Claudia Huckle, Hippolyta

Matthew Rose, Bottom

Anthony Gregory, Flute

David Soar, Quince

Colin Judson, Snout

William Dazeley, Starveling

Sion Goronwy, Snug

David Evans, Puck

London Philharmonic Orchestra

Trinity Boys Choir

Lynne Hockney, Director de reposición

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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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.

Enchanted Wood: dream of a Dream at Glyndebourne