Britten’s blank postcard from Belsen: The Rape of Lucretia at the Royal Academy of Music

Par Charlotte Valori, 18 mai 2014

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Critique faite à Royal Academy of Music: Sir Jack Lyons Theatre, Londres, le 15 mai 2014

Britten, Le Viol de Lucrèce

Royal Academy Opera

Steuart Bedford, Direction

John Ramster, Mise en scène

Céline Forrest, Chœur féminin

Emily Vine, Lucia

Kate Howden, Bianca

Angharad Lyddon, Lucrèce

Bradley Smith, Chœur masculin

Ed Ballard, Tarquin

Lancelot Nomura, Collatin

Alistair Ollerenshaw, Junius

Royal Academy of Music Sinfonia

Le ravissement de Semele à Londres

Georgiana Hatara, 17th November

À la Royal Academy of Music, Semele de Händel offre une expérience jubilatoire et rafraîchissante. Mise en scène ingénieuse et jeunes chanteurs talentueux sont au menu de cette production.

****1

The Royal Academy's Carmen has too many what-if moments

Dominic Lowe, 18th November

Presenting a work like Carmen is a punchy move by a conservatoire. The Royal Academy of Music's production has conceptual weaknesses, but features some good singing.

***11

Royal Academy Opera stages a magical Zauberflöte

Mark Valencia, 18th March

A lyrical yet zesty account of Mozart's' adorable score, in a production that is on the nose and off the wall.

****1

A dystopian Hansel und Gretel at the RAM

Mark Valencia, 20th November

Jack Furness serves up an unappetising mess of Humperdinck's delicious masterpiece for Royal Academy Opera.

***11

Keeping it surreal: Martinů double-bill at the Royal Academy of Music

Dominic Lowe, 8th May

With typical spirit, the students at the Royal Academy of Music did an excellent job in bringing Martinů’s Comedy on the Bridge and Alexandre bis to life – two lesser-known pre-war surrealist gems.

***11

Unreal city: The Rake's Progress at the Royal Academy of Music

Benjamin Poore, 22nd November

Frederic Wake-Walker's realisation of the Hogarth-inspired opera is visually bracing and assuredly sung.

****1

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Charlotte Valori

Charlotte Valori read Classics at Christ Church, Oxford. As a classicist, her main interest is Greek tragedy and its reception by later cultures, which has led to a continuing passion for theatre and opera. Charlotte reviews for several online magazines, and won the Bachtrack Opera Award 2015 for Best Written English Review. Follow her on Twitter @operissima.