Scottish Opera’s production of Philip Glass and Christopher Hampton's The Trial says less about Kafka’s vision of an absurd world and more about the absurdity of contemporary operatic conventions.
John Joubert's opera setting of Charlotte Brontë's masterpiece received its long-awaited world premiere by the English Symphony Orchestra under the direction of Kenneth Woods, with a luminous central performance by soprano April Fredrick.
Greek packs a punch. Especially in Music Theatre Wales’ simple production, here at the Royal Opera House Linbury Studio Theatre. Mark-Antony Turnage’s music brings Steven Berkoff’s play to life.
Combining Steven Berkoff’s brutally in-yer-face libretto with the gutsy music of Mark-Anthony Turnage was bound to be an explosive mix. The result was Greek, Turnage’s first opera (or, more accurately, Singspiel), first performed in 1988 and now given an inspiring new airing from Music Theatre Wales. Berkoff’s text was adapted from his own play, based on the Oedipus myth.
When is an opera not an opera? Some would answer this question with “when it’s a musical”, but such a response says more about our own preconceptions of what opera and musical theatre represent than it does about the works themselves.
