Diaghilev's opera-ballet Le Coq d'Or returns to life

By Margaret Willis, 09 July 2014

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“What better way to introduce the arts of opera and ballet in such a lively and enchanting way!”

Reviewed at The London Coliseum, London on 8 July 2014

Rimsky-Korsakov, Le Coq d'or (The Golden Cockerel)

Saisons Russes du XXI Siècle

Alevtina Ioffe, Conductor

Andris Liepa, Director

Natalia Goncharova, Set Designer

Petr Melentiev, Astrologer

Alexander Tsilinko, Tsar Dodon

Sergey Petrishchev, Prince Guidon

Denis Boldov, Prince Afron

Natalia Eliseeva, Amelfa

Nikolai Petrenko, General Polkan

Zarina Samadova, Golden Cockerel

Olesya Titenko, Queen of Shemakha

Moscow State Music Theatre Orchestra

Vocal splendour in Le Coq d’Or

Mark Pullinger, 8th July

On one level, Le Coq d’Or, Rimsky-Korsakov’s final opera, is a simple fairy tale. However, you don’t need to dig far to discover a biting satire, which was largely absent in this presentation by Les Saisons Russes du XXI Siècle.

***11

Vocal splendour in Le Coq d’Or

Mark Pullinger, 8th July

***11

Reality television: ENO’s Angel’s Bone in Manchester

Lawrence Dunn, 12th May

Kip Williams and ENO mount an extraordinary new production of Du Yun and Royce Vavrek’s multifaceted opera, with performances of great emotional directness broadcast live on camera.

*****

Sir Thomas Allen’s Figaro for Scottish Opera still entertains

David Smythe, 9th May

A traditional Marriage of Figaro entertains with a strong cast, eye-catching design and lighting, and Amanda Holden’s earthy libretto.

****1

Sasha Cooke brings sharp intelligence to Seattle Opera’s Carmen

Thomas May, 8th May

Sasha Cooke’s thoughtful role debut anchors Paul Curran’s visually and musically alert but dramatically uneven production.

****1

Welsh National Opera’s Dutchman docks in Birmingham

Rohan Shotton, 7th May

This bracing performance of The Flying Dutchman is a powerful reminder of the extraordinary musical standards which are at risk in the face of WNO’s subsidy cuts.

****1

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Margaret Willis

Margaret studied ballet in Moscow for five years and later was a member of London City Ballet. A reviewer since 1978 for many newspapers and magazines including Dancing Times and Dance Magazine, Margaret is a specialist on Russian Ballet, and has written books on Russian Ballet and Carlos Acosta.