A topsy-turvy Rheingold in concert from Jurowski and the LPO

By Mark Valencia, 28 January 2018

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“Of Wotan the god there was scarcely a sign; all he left was a trail of notes”

Reviewed at Royal Festival Hall, London on 27 January 2018

Wagner, Das Rheingold

Vladimir Jurowski, Conductor

Matthias Goerne, Wotan

Maxim Paster, Loge

Stephen Gadd, Donner

Allan Clayton, Froh

Robert Hayward, Alberich

Adrian Thompson, Mime

Michelle DeYoung, Fricka

Lyubov Petrova, Freia

Matthew Rose, Fasolt

Brindley Sherratt, Fafner

Rowan Hellier, Wellgunde

Sofia Fomina, Woglinde

Lucie Spickova, Flosshilde

Anna Larsson, Erda

London Philharmonic Orchestra

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Dominic Lowe, 13th May

With Aigul Akhmetshina and Seokjong Baek in the title roles, there are reasons to be optimistic, but The Royal Opera’s revival of Richard Jones’ production is a mixed bag.

***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

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

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Mark Valencia

Mark has worked in arts journalism for four decades, both as a writer and as a French-English translator. Nowadays he focuses his energies on reviewing opera and music. Mark also writes for Opera magazine and for Musical America as a correspondent for Europe and the UK.