A semi-staged Tristan und Isolde at Glyndebourne

Par Dominic Lowe, 15 août 2021

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“Karen Cargill very nearly stole the first act with a forceful yet elegant assumption of Brangäne”

Critique faite à Glyndebourne Opera House, Glyndebourne, le 13 août 2021

Wagner, Tristan et Isolde (Semi-staged production)

Glyndebourne Festival Opera

Robin Ticciati, Direction

Dan Dooner, Mise en scène

Miina-Liisa Värelä, Isolde

Simon O'Neill, Tristan

John Relyea, Roi Marke

Shenyang, Kurwenal

Neal Cooper, Melot

Karen Cargill, Brangäne

Stuart Jackson, le Berger, le Jeune Matelot

The Glyndebourne Chorus

London Philharmonic Orchestra

A deli-cious revival of Rossini’s Il turco in Italia at Glyndebourne

Dominic Lowe, 23rd May

Mariame Clément’s production of Rossini's meta comedy is tightly revived with some excellent singing. Come for the writing tips, stay for the cured meats.

****1

Glyndebourne’s first Tosca: vocally strong but imperfect

David Karlin, 21st May

Ted Huffman brings some interesting ideas to his first Glyndebourne production. Excellent singing is let down by indifferent physical acting.

***11

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.

*****

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Dominic Lowe

Dominic Lowe recently completed a degree in Classics, and one of his great interests is the reception of Greece and Rome in opera. A regular opera-goer since his very early teens, he is particularly keen on the hidden operatic gems of the 19th century. He is largely based in the South of England.

Sweet immersion: a semi-staged Tristan und Isolde at Glyndebourne