One eye wet and the other dry

By Kevin Wells, 03 October 2016

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“Fleming... can still spin and float a phrase and remains in the moment dramatically”

Reviewed at Symphony Hall, Boston on 29 September 2016

Strauss R., Der Rosenkavalier (Concert performance)

Andris Nelsons, Conductor

Renée Fleming, Feldmarschallin

Erin Morley, Sophie

Susan Graham, Octavian

Alan Opie, Herr von Faninal, Faninal's Major-Domo

Franz Hawlata, Baron Ochs

Irmgard Vilsmaier, Marianne

Michelle Trainor, A milliner

Jane Henschel, Annina

Graham Clark, Valzacchi

David Cangelosi, Feldmarschallin's Major-Domo

Stephen Costello, Italian Singer

Tanglewood Festival Chorus

Boston Symphony Orchestra

Irish National Opera’s new Rusalka intrigues more than it convinces

Andrew Larkin, 22nd March

Netia Jones’ modern reimagining intrigues more than it convinces, but still makes a strong case for Dvořák’s dark fairy tale.

***11

Magnifying Glass: a magnificent Les Enfants terribles in Lille

Elena Luporini, 20th March

A new production of Les Enfants terribles at the Opéra de Lille drags the audience into a terribly marvelous labyrinth, courtesy of conductor Virginie Déjos and directors Matthias Piro and Lisa Moro.

*****

Opera Australia’s Eugene Onegin shines musically

Sandra Bowdler, 17th March

Eugene Onegin returns to the Sydney Opera house in Kasper Holten’s slightly awkward production but the singing and orchestral playing are exemplary.

****1

Siegfried at the RBO: Kosky and Pappano surprise and delight

David Karlin, 17th March

A revelatory orchestral performance and a cast led by Andreas Schager, Christopher Maltman and Elisabeth Strid make this a Siegfried for the record books.

*****

Hedging its bets: La finta giardiniera at the Royal College of Music

Dominic Lowe, 16th March

Mozart's teenage comedy is more complicated then Figaro but is easy on the ear, with many opportunities for a young cast to shine.

***11

Washington National Opera marches onward with a joyous Treemonisha

Sam Jacobson, 15th March

A vibrant new production of Scott Joplin’s Treemonisha at Washington National Opera underscores the opera’s enduring message of education, community and social justice.

****1

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Kevin Wells

Kevin Wells was bitten by the opera bug at 10, having heard a 1936 recording of Jussi Björling singing “Che gelida manina”. He has never been the same since. A student of voice, performance practice, the history of singing and opera, he holds advanced degrees in Italian and has lived and worked in Italy off and on since the 70s. La Scala became a second home as the Met had been during college daze. Now in his native Boston, he works as translator, tutor, and language coach, haunts Symphony Hall, and would haunt the Opera House had it not been demolished in 1958!

One eye wet and the other dry: Der Rosenkavalier with the Boston Symphony