A rite of spring: Rimsky-Korsakov's May Night

Par Matthew Rye, 09 mars 2016

Chargement en cours, veuillez patienter...

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“The folk-opera genre... gives plenty for a young and enthusiastic cast to do”

Critique faite à Ambika P3, Londres, le 8 mars 2016

Rimski-Korsakov, La Nuit de mai

Royal Academy Opera

Gareth Hancock, Direction

Christopher Cowell, Mise en scène

Bridget Kimak, Décors, Costumes

Lorena Paz Nieto, Pannochka

Emma Stannard, Ganna

Claire Barnett-Jones, la belle-sœur du maire

Martins Smaukstelis, Distiller

Mikhail Shepelenko, Levko

Henry Neill, Clerk

Philip Wilcox, Kalenik

Timothy Murphy, Le Maire

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

Plus de critiques...

Matthew Rye

Matthew read music at Oxford and worked in music journalism for 30 years as a writer, critic and editor. He wrote numerous programme and CD booklet notes, spent 13 years as a Daily Telegraph critic, worked at BBC Music Magazine and was reviews editor of The Strad. He also wrote for The Wagner Journal and Opera and blogged at ferneklang.blogspot.co.uk. He was general editor of 1001 Classical Recordings You Must Hear Before You Die (Cassell Illustrated, 2007) and was the author of a new series of eBooks, Masterpieces of Music (Erudition).