George Benjamin and Martin Crimp's second full scale opera is a refinement of the craft showed in Written on Skin – but the lessons are less in love and violince than in power, tension and beauty of the score.
In Siberian conditions more akin to The Winter's Tale, a revival of Robert Carsen's season setting of Britten's A Midsummer Night's Dream offered a warm glow at the Coliseum.
With a combined age of 161 years, John Copley and Steuart Bedford certainly bring ample experience to Grange Festival's new production of Britten's Albert Herring.
This revival of Catherine Malfitano’s excellent 2010 production features some splendid singing from Gwyn Hughes Jones as Cavaradossi – but is let down by some poor diction and varying drama.
King Arthur,an action-packed five-act semi- or "dramatick” opera with music by Henry Purcell and libretto by John Dryden, took on an entirely new face at its recent Zurich première.
The Royal Academy of Music tonight presented the fruits of their latest postgraduate opera course with two short operas representing opposite ends of the musical timeline.Purcell’s miniature three-act opera really needs no introduction.
For a composer of such undeniable genius and widespread popularity, it is strange that there aren’t too many opportunities to hear J.S. Bach’s cantatas performed live in concert.
George Benjamins neue Oper beschreibt eindringlich einen durch Liebe hilflosen König – Hannigan und Degout füllen die tiefgründige Musik mit hingebungsvollem Emotionsspiel.
