Riotous journey to the Underworld

Par Mark Pullinger, 04 février 2017

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“camper than a row of tents”

Critique faite à Hackney Empire, Londres, le 3 février 2017

Offenbach, Orphée aux Enfers

Royal Academy Opera

Gareth Hancock, Direction

Martin Duncan, Mise en scène

Alex Doidge-Green, Décors

Alys Mererid Roberts, Eurydice

Ilona Revolskaya, Diane

Frances Gregory, Venus

Leslie Bickle, Cupidon

Carrie-Ann Williams, Minerve

Helen Brackenbury, L'Opinion Publique

Hannah Poulsom, Junon

Mikhail Shepelenko, Orphée

Alexander Aldren, Mercure

Dominic Bowe, Jupiter

Alex Otterburn, John Styx

Timothy Murphy, Mars

Richard Walshe, Bacchus

Steve Elias, Chorégraphie

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

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.

Riotous journey to the Underworld: Royal Academy's Orphée in Hackney