Dark deeds under the microscope: Britten's Lucretia

Par David Karlin, 06 juillet 2015

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“This production...puts each of its characters under the microscope and explores every nuance”

Critique faite à Glyndebourne Opera House, Glyndebourne, le 5 juillet 2015

Britten, Le Viol de Lucrèce

Glyndebourne Festival Opera

Leo Hussain, Direction

Fiona Shaw, Mise en scène

Michael Levine, Décors

Nicky Gallibrand, Costumes

Kate Royal, Chœur féminin

Louise Alder, Lucia

Catherine Wyn-Rogers, Bianca

Christine Rice, Lucrèce

Allan Clayton, Chœur masculin

Duncan Rock, Tarquin

Matthew Rose, Collatin

Michael Sumuel, Junius

London Philharmonic Orchestra

L’Orfeo, the world’s first great opera, premieres at Glyndebourne

Roy Westbrook, 14th June

One element of the Orpheus myth is about creativity, so at Glyndebourne, William Kentridge sets Monteverdi’s opera in an artist's studio,

****1

A deli-cious revival of Rossini’s Il turco in Italia at Glyndebourne

Dominic Lowe, 23rd May

Mariame Clément’s production of Rossini's meta comedy is tightly revived with some excellent singing. Come for the writing tips, stay for the cured meats.

****1

Glyndebourne’s first Tosca: vocally strong but imperfect

David Karlin, 21st May

Ted Huffman brings some interesting ideas to his first Glyndebourne production. Excellent singing is let down by indifferent physical acting.

***11

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

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David Karlin

David is a co-founder of Bachtrack. He is a musical omnivore interested in almost all types of music, but with a particular love of Italian opera. You can contact him from this link.

Dark deeds under the microscope: Britten's Rape of Lucretia at Glyndebourne