Pappano takes no prisoners in Dallapiccola and Respighi

Sir Antonio Pappano

Eric Greene, Sir Antonio Pappano, Stefano Secco and the LSO

Ángeles Blancas Gulín, Sir Antonio Pappano and the LSO

By Benjamin Poore, 06 June 2022

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“in Pappano the composer has found the best possible advocate”

Reviewed at Barbican Hall, London on 5 June 2022

Respighi, Vetrate di chiesa (Church Windows)

Dallapiccola, Il prigioniero

Sir Antonio Pappano, Conductor

London Symphony Orchestra

London Symphony Chorus

Eric Greene, Il prigioniero (The Prisoner)

Ángeles Blancas Gulín, La madre (The Mother)

Stefano Secco, Il carceriere (The Gaoler)/ Il grande Inquisitore (The Grand Inquisitor)

Egor Zhuravskii, Primo sacerdote (First Priest)

Chuma Sijeqa, Secondo sacerdote (Second Priest)

Simon Halsey, Choirmaster / chorus director

A noble Norma trapped in a hollow dystopia

Andrew Larkin, 24th May

Salome Jicia delivers a vocally impressive and emotionally committed Norma, but Orpha Phelan’s post-apocalyptic staging fatally weakens Bellini’s sacred tragedy.

***11

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

Superb musical performances in Pinchgut's Scarlatti rarity in Sydney

Sandra Bowdler, 23rd May

As usual, Pinchgut lavishes musical excellence on an obscure Baroque work... but why stage an oratorio?

****1

The Met’s Frida y Diego proves visually stunning, musically thrilling

David Wolfson, 22nd May

Deborah Colker and her design team create visually vibrant worlds for the Met’s new production of El último sueño de Frida y Diego, by Pulitzer Prize winner Gabriela Lena Frank.

*****

Dudamel’s LA Phil Walküre proves worth the wait

Matthew Richard Martinez, 21st May

An enveloping performance of Die Walküre spans three consecutive evenings, featuring world class singing in Frank Gehry’s stunning space.

****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

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Benjamin Poore

Benjamin Poore is a writer and critic. His book on psychoanalysis and literature is forthcoming in 2019. He has previously written about literature and culture for the Independent, the Times Literary Supplement, and Times Higher Education. In his spare time he tries to sing Schubert; he has a very patient teacher.