Cinders on the couch: Freudian Cendrillon at Glyndebourne

Par Mark Pullinger, 09 juin 2019

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“Shaw's key message is that you can find true love in unexpected places”

Critique faite à Glyndebourne Opera House, Glyndebourne, le 8 juin 2019

Massenet, Cendrillon

Glyndebourne Festival Opera

John Wilson, Direction

Fiona Shaw, Mise en scène

Jon Bausor, Décors

Nicky Gallibrand, Costumes

Danielle de Niese, Cendrillon

Kate Lindsey, Le Prince charmant

Nina Minasyan, La Fée

Agnes Zwierko, Madame de la Haltière

Lionel Lhote, Pandolfe

Eduarda Melo, Noémie

Julie Pasturaud, Dorothée

Anthony Osborne, Le Doyen de la faculté

Adam Marsden, Le Roi

Michael Wallace, Le Premier Ministre

Romanas Kudriasovas, Le Surintendant des plaisirs

Fiona Dunn, Revival Director

Anna Watson, Lumières

London Philharmonic Orchestra

The Glyndebourne Chorus

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

Glyndebourne's Saul still packs a punch 10 years on

Nick Boston, 8th June

Returning from the original run, Christopher Purves and Iestyn Davies were joined by a strong cast and chorus for a revival of Barrie Kosky's striking production.

*****

Unhurried suspense in a very English Parsifal

Peter Quantrill, 17th May

Compelling singers carry the day in the Glyndebourne Festival Opera's first staging of Wagner’s swansong.

****1

Glyndebourne’s season opens with Rossini’s Barber of Seville

David Karlin, 16th May

Annabel Arden’s production provides joyous comedy, with vocal and orchestral performances of the very finest.

*****

Plus de critiques...

Mark Pullinger

Mark has been a Bachtrack editor since 2014. He is also an experienced critic, writing hundreds of reviews for the site, as well as a freelancer writing for other magazines and newspapers. He also writes programme notes and blogs on Substack. Mark has a particular passion for the operas of Verdi as well as Russian and French repertoire. Outside the concert hall and opera house, Mark enjoys cooking and travel and is probably at his happiest let loose in a French patisserie or a Viennese coffee house.