Norrington and LPO provide emotion and insight in Dido and Aeneas

By Mark Thomas, 31 January 2019

Loading, please wait...

See full listing

“Norrington’s characteristic eye for detail and shape infused the music”

Reviewed at Royal Festival Hall, London on 30 January 2019

Handel, Water Music, Suite no. 1 in F major, HWV 348

Handel, Water Music, Suite no. 2 in D major, HWV 349

Purcell, Dido and Aeneas (Concert performance)

Sir Roger Norrington, Conductor

Marie-Claude Chappuis, Dido

Benjamin Appl, Aeneas

Lucy Crowe, Belinda

Miriam Allan, 2nd Woman

Edward Grint, Sorceress, Spirit

Martha McLorinan, 1st Enchantress

Anna Harvey, 2nd Enchantress

Hugo Hymas, Sailor

Schutz Choir of London

London Philharmonic Orchestra

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

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

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

More reviews...

Mark Thomas

A lifelong devotee of classical music, Mark caught the bug after listening to The Planets, The Rite of Spring and Beethoven’s Fifth when he was knee-high to a grasshopper. He has degrees in non-musical subjects and currently works as a Chartered Governance Professional, but these have proved to be mere distractions from the wonders of sonatas, concertos and symphonies. He has been reviewing for Bachtrack since 2016, plays viola and violin (very shakily) and used to sing a bit (even more shakily).

“Remember me!” Norrington and LPO provide emotion and insight in Purcell’s Dido and Aeneas