Fidelio with footnotes

Par Dominic Lowe, 22 janvier 2017

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Voir le listing complet

“tender, fierce, noble – nothing was lacking in Kampe’s vivid account”

Critique faite à Royal Festival Hall, Londres, le 21 janvier 2017

Beethoven, Fidelio

Vladimir Jurowski, Direction

Daniel Slater, Mise en scène

Anja Kampe, Leonore

Sofia Fomina, Marzelline

Peter Rose, Rocco

Robert Dean Smith, Florestan

Ben Johnson, Jaquino

Pavlo Hunka, Don Pizarro

Ronan Collett, Don Fernando

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

A stylish Rake's Progress from Jurowski and the LPO

Stephen Pritchard, 3rd November

Toby Spence, Matthew Rose and Andrew Watts shine in a fluent semi-staging at the Royal Festival Hall.

****1

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

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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Dominic Lowe

Dominic Lowe recently completed a degree in Classics, and one of his great interests is the reception of Greece and Rome in opera. A regular opera-goer since his very early teens, he is particularly keen on the hidden operatic gems of the 19th century. He is largely based in the South of England.

Fidelio with footnotes from Vladimir Jurowski and the LPO