(Photo: Richard Hubert Smith) “’La traviata’ last night a failure. Was the fault mine or the singers? Time will tell.” So wrote Giuseppe Verdi in a letter the day after the premiere performance in Venice in 1853. Fast forward to 2024, in the week of his Birthday, to Glyndebourne’s Tom Cairns 2014 revival production; and Verdi would probably have written {…}
(Photo: © Glyndebourne Productions Ltd. Photography by Richard Hubert Smith) “Carmen” is unquestionably one of the most popular works ever composed and has become an almost permanent fixture in the repertoire of opera houses. However, this presents something of a dilemma for those creative artists and directors who desire to produce the opera in a more contemporary setting and feel {…}
(Photo: © Richard Hubert Smith/Glyndebourne Festival Opera 2024) The picnic hampers are packed, dinner jackets dry-cleaned, cufflinks wrangled, and drizzle forecast: the British country house opera season is back. It opens with a new production of Georges Bizet’s box-office stalwart “Carmen” from Glyndebourne Festival Opera, directed by Diane Paulus and conducted by Glyndebourne Music Director Robin Ticciati. This latest version, {…}
(Photo credit: © Glyndebourne Productions Ltd. Richard Hubert Smith) John Cox and David Hockney’s production of “The Rake’s Progress” for Glyndebourne can surely lay claim to being the longest-running staging in the UK. It is 48-years-young this season, and on its 12th revival between Festival and Tour, not to mention the numerous loans of the production to international houses of {…}
(Photo: Richard Hubert Smith) Whether you like Barrie Kosky’s stagings or not, they always have an enormous presence. Think of the Marlene Dietrich-inspired gorilla suit in his “Carmen” for the Royal Opera House, the inflatable Beckmesser caricature in the Nuremberg trial “Meistersinger”, or the eerie sea of ash and candles in his “Saul” for Glyndebourne. The latter, highly acclaimed, meant {…}
Photo credit: © Glyndebourne Productions Ltd. “La bohème”, as the archetypal verismo opera, tends to resist stagings that take it much beyond the confines of nineteenth-century Paris, and indeed non-naturalistic approaches to the work. (Audiences tend to resist them too.) The two most successful in London recently have been John Copley’s recently retired version at the Royal Opera House – {…}
(© Richard Hubert Smith) Ethel Smyth’s opera “The Wreckers” opened the Glyndebourne Festival Opera last weekend, receiving its first-ever performance in the original French – libretto by Henry Brewster – and with many savage cuts restored. Its journey has been a long one: Smyth was repeatedly thwarted by war, misogynistic attitudes, musical conservatism, and meddling conductors. For some context – {…}
Credit: Gregor Hohenberg/Sony Gramophone has announced the recordings that have advanced to the final round of the Gramophone Classical Music Awards 2020. For the purpose of this article, we will focus on vocal, choral, and opera categories. The first contestant in the opera category is the Barber’s “Vanessa,” performed by the London Philharmonic Orchestra and Glyndebourne Chorus, under the musical {…}