Enescu’s ambitious only opera opens LPO season

By Matthew Rye, 24 September 2017

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“raising the dramatic temperature in what can seem a static, even statuesque work”

Reviewed at Royal Festival Hall, London on 23 September 2017

Enescu, Œdipe

Vladimir Jurowski, Conductor

Paul Gay, Œdipe

Sir Willard White, Tirésias

Christopher Purves, Créon

Graham Clark, Shepherd

Mischa Schelomianski, High Priest

Insung Sim, Phorbas

Boris Pinkhasovich, Thésée

Marius Vlad, Laios

Ruxandra Donose, Jocaste

Ildikó Komlósi, La Sphinge (The Sphinx)

Gabriela Iştoc, Antigone

Dame Felicity Palmer, Mérope

Maxim Mikhailov, Old Man

Choir of the George Enescu Philharmonic Orchestra

Romanian Radio Children's Choir

London Philharmonic Orchestra

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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

Werther oozes quiet despair in new Canadian Opera Company staging

John Gilks, 7th May

Excellent performances cannot turn a conventional production of Massenet’s Werther into a dramatic experience for the 21st century.

***11

Rossini’s Cenerentola proves great fun in Adelaide

Sandra Bowdler, 7th May

Neil Armfield’s production for State Opera South Australia combines a sparkling night of entertainment with first class musical values.

****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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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).

Complex Oedipus: Enescu’s ambitious only opera opens the LPO season