A stylish Rake's Progress from Jurowski and the LPO

Por Stephen Pritchard, 04 noviembre 2018

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“Matthew Rose... a voice so pure, so resonant, so rich that he eclipses all those around him”

Crítica hecha desde Royal Festival Hall, Londres el 3 noviembre 2018

Stravinsky, The Rake's Progress

Vladimir Jurowski, Dirección

Daniel Slater, Dirección de escena

Toby Spence, Tom Rakewell

Sophia Burgos, Anne Trulove

Andrew Watts, Baba the Turk

Matthew Rose, Nick Shadow

Marie McLaughlin, Mother Goose

Kim Begley, Sellem

Clive Bayley, Trulove

London Voices

London Philharmonic Orchestra

Tension accumulates in Handel’s Tamerlano at The Grange Festival

David Truslove, 10th June

Some exceptional singing intermittently enlivens Daniel Slater's production which, dramatically and emotionally, takes time to ignite.

***11

Woodland Tales: Vixen at the RCM

Dominic Lowe, 27th November

The Royal College of Music's first opera of the season, The Cunning Little Vixen has some excellent singing and first-class playing from the student orchestra.

***11

Fidelio with footnotes

Dominic Lowe, 21st January

Despite a condescending commentary, a strong performance from Anja Kampe as Leonore made this concert staging of Fidelio at the Royal Festival Hall thoroughly enjoyable.

****1

L'elisir d'amore bubbles with life in Leeds

Richard Wilcocks, 17th February

Opera North's revival of L'elisir d'amour directed by Daniel Slater at the Grand Theatre, Leeds, still bubbles with life, in spite of its age.

****1

Alex Penda hits home vocally and dramatically in Salome

Michael Wade Simpson, 6th August

In director Daniel Slater’s production at Santa Fe Opera this summer, Freud is God, and a biblical saga of lust, incest and murder is presented through a Viennese, turn-of-the-century lens.

****1

Fright at the Museum: Slater’s Aida flops at Holland Park

Mark Pullinger, 24th June

Third time unlucky? After a scorching start to the summer, with superb productions of Il trittico and Flight, Opera Holland Park’s season came unstuck with a horror of a show in Daniel Slater’s Aida.

**111

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Stephen Pritchard

Stephen Pritchard began singing as a treble at the age of eight and progressed to become a tenor in Portsmouth Cathedral Choir, the Gibbons Consort and now the English Chamber Choir. Writing about music has been at the core of his 40-year career in journalism, chiefly at the Observer. He has been known to play a pretty mean jazz double bass.