The value of Nothing: a dark thriller at Glyndebourne

Par Mark Pullinger, 29 février 2016

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“catchy anthems... really groove and the boys’ gang flex their muscles with a Bernstein-like swagger”

Critique faite à Glyndebourne Opera House, Glyndebourne, le 27 février 2016

Bruce, Nothing

Glyndebourne Youth Opera

Sian Edwards, Direction

Bijan Sheibani, Mise en scène

Stuart Jackson, Pierre

Tristan Hambleton, Karl

Marta Fontanals-Simmons, Ursula

Robyn Allegra Parton, Agnes

James Hall, Johan

Southbank Sinfonia

Community Chorus is star of the show in Glyndebourne's Agreed

Nick Boston, 1st March

Impressive performances from a 75-strong community chorus in a watery tale of love, loss and divided lands at Glyndebourne.

***11

Pintscher's reflection on Shakespearean metamorphoses

James Imam, 21st August

In a study of shifting form, tonight's dedication to the bard paired Mendelssohn's incidental music to the play with another work inspired by The Metamorphoses: Matthias Pintscher's mesmerising Reflections on Narcissus.

***11

Through His Teeth: A Faustian deal

Levi White, 3rd April

Through His Teeth is a gripping psychological drama. Bedford was commissioned by the Royal Opera House to write a piece on the subject of Faust, to run alongside the star-studded performances of Gounod’s opera on the main stage. Heartily recommended to anybody in need of an evening of modern drama and violence.

****1

Siegfried et l’art du chant au Théâtre des Champs-Élysées

Pierre Michel, 19th April

Pour ce troisième volet du Ring proposé en version de concert par Yannick Nézet-Séguin et l'Orchestre philharmonique de Rotterdam, c'est le plateau vocal qui brille avant tout, éclipsant l'orchestre et le chef.

***11

Michael Fabiano fait trembler le Capitole dans Otello

Arnaud Saura-Ziegelmeyer, 14th April

Pour ses débuts à Toulouse, le ténor américain se distingue dans le rôle-titre de l'ouvrage verdien. Mise en scène, plateau vocal et fosse s'associent parfaitement pour livrer la quintessence du drame.

*****

Satyagraha ou la canonisation de Philip Glass au Palais Garnier

Romain Daroles, 10th April

Donné pour la première fois à l'Opéra national de Paris, l'ouvrage du compositeur américain est un succès sur le plan musical, théâtral et chorégraphique.

****1

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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.

The value of Nothing: a dark operatic thriller at Glyndebourne