Archive for the ‘Opera reviews’ Category

Congratulations to Vitaliy Bilvy..

January 28, 2017

.. on his superb debut at the Royal Opera House as a particularly evil baddie – Count di Luna in Il Trovatore. I hope that he will return to Covent Garden many many times and I will get to listen to his marvellous voice again.

While I am on Il Trovatore, how amazing was Anita Rachvelishvili as Azucena? Very. Mind you, she did have the juiciest bits and got to reveal the most interesting plot twists. Without giving too much away, I would recommend thinking carefully before murdering someone and seeing Il Travatore – still 4 performances left.


My cultural education in 2015 (quick review)

December 31, 2015
  1. ‘Un Ballo in Maschero’ (ROH)

An enjoyable opera, made more enjoyable by seeing Dmitri Hvorostovskiy for the first time. It got poor reviews, which were not deserved in my opinion. The material itself is on the boring side but it was beautifully performed.

2. ‘Andrew Chenier’ (ROH)

The best discovery of this year. Jonas Kaufmann was beyond words – amazing! It was one of those rare experiences when you know that you are sitting (or standing in my case) during something very very special. Read more here

3. ‘Letters live’ (Masons Hall)

I saw Benedict Cumberbatch, Tom Hiddleston and Kylie Minogue. Praise here

4. ‘Eugene Onegin’ ballet (Royal Ballet)

Natalia Osipova was absolutely divine in this beautiful production.

5. ‘Madama Butterfly’ (ROH)

The stakes were high as this is one of my favourite operas of all time, however it did not disappoint at all! Kristina Opalais was great and I actually cried. Patrick’s first guest review

6. ‘Fleurs’ opera recital (Conway Hall)

It was a fine way to spend an evening without any cost and I heard a couple of my favourite poems performed in a new way. However, I am not sure if I would pay money to see it again.

7. ‘La Boheme’ (ROH)

Not the best production of Boheme but as Anna Netrebko was Mimi it was magical nevertheless! More details

8. ‘Raven Girl’ (Royal Ballet)

I am far from being an expert on modern ballet but this one was very gothic and interesting

9. ‘Sylvia’ ballet (Mariinskiy)

The highlight of our trip to St Petersburg. Very confident and forceful ballet. Almost rough, rather than elegant – a very interesting viewing, full of dramatic explosions and thunder-like notes. I didn’t write a review but here are some words from my diary describing the ballet – strong, raw, powerful, perfect, magical, a privilege to witness. Vladimir Shklyarov.

10. ‘Eugene Onegin’ opera (ROH)

While Hvorostovskiy was as brilliant as one can predict, the production was not as good as it could have been.

Overall, 2015 was a great year for my cultural education. Maybe I became more spoilt in my preferences – but it’s only because I had so many great experiences, my standards are incredibly high! I am glad to finish the year even more in love with London and the cultural opportunities it provides. Happy New Year!


On La Bohème with Anna Netrebko (2015)

May 24, 2015

Dreams come true. Last night I saw Anna Netrebko – the best opera singer in the world, the legend and pride of Russia, and she was as fantastic as one expects.

I was very lucky to see her as Mimi in the opening night of La Bohème at the Royal Opera House. First night celebrations went really well, I’ve never seen such an atmosphere in the ROH!

Not that it was all perfect. It is difficult to sing high praise to a production that for some inexplicable reason added so much crude ‘humour’ into the opera. La Bohème has fantastic humour in its text already and it’s enough. Also, when Musetta sings Quango m’en vo’ solutta, one of the most recognised songs from the opera, why would you put her somewhere upstairs at the very edge of the stage, where no one could see or hear her? I have to admit my bias, I am extremely spoiled with a perfect Musetta – Susanna Philips, who in the Met production was so divine,  it has proven to be impossible (so far)  to be nearly as good as her. Still, they should have made their Musetta presence felt, it is not in her Act 1 nature to hide!

It is always lovely to discover singers who you would want to see again. This week’s it is Joseph Calleja (Rodolfo), Lucas Meachem (Marcello) and Marco Vinco (Colline).

However, most importantly, Anna Netrebko was there. It made everything amazing and the whole experience magical. I am overwhelmed with joy and can’t really comprehend that less than 24 hours ago it really happened.

There are plenty more performances left, lots of tickets available if you queue in the morning, don’t miss this opportunity! What I am trying to say is: I recommend it very much!

Here is a clip of Anna Netrebko:

On the 2015 production of Madama Butterfly by the Royal Opera House

April 9, 2015

Went to see it this afternoon. This review is by a new guest author Patrick Murray

Set at the end of the Japanese period of isolation Puccini’s Madama Butterfly is a tragic tale, based on a true story, of an innocent young Geisha, Butterfly, who renounces her culture, religion and family to marry an American sailor, Benjamin Franklin Pinkerton. He abandons her, returning several years later with an American wife in tow. All this time Butterfly believes he will come back to her and raises their son. This is not to be. Forced to give up her son to the new American wife, she kills herself “to die with honour” rather than live without it.

Speaking of living without honour, where to start with Mr Pinkerton? He is a shallow, ignorant, arrogant man who respects nothing important. He does not respect Butterfly’s culture and he does not respect love. This is portrait of a man who is little more than a moral vacuum. However he does not marry her out of malice, but because he believes love is about joy and happiness and that this is a good intervention in Butterfly’s life, despite repeated warnings from his friend. Needless to say, Pinkerton is proven drastically wrong. His final moment of shameful dishonour is when, upon his return to Japan, he realises what he has done and stricken with guilt he flees as he cannot bring himself to face his former wife. It is left to others to clear up the mess he has made.

The production from the Royal Opera House was quite simply magnificent. Puccini’s rich, beautiful music was played brilliantly, from the dramatic crescendos to the tender moments of hope and heartbreak. The cast was superb. Kristine Opolais as Butterfly was incredible in particular, but it feels wrong to single out any particular individual.

It is not hard to miss the symbolism that Puccini is going for here. The final scene of her plunging a dagger into her chest as her son waves a miniature American flag whilst the cherry blossom falls from a tree speaks to that. In truth it is such an incendiary opera that one wonders whether Puccini would have prosecuted for incitement or radicalisation if he composed it today!

My only regret is that this was the final performance with Opolais so I can’t see it again. Just magnificent – 5 stars from me!

Patrick Murray

On ‘Andrea Chenier’ by the Royal Opera House

February 7, 2015

‘Revolution devours its children’ – sings Gerard, a former servant, now a celebrated citizen amidst a new era during the French revolution. There are no happy endings, apart from death in unity and death for love and ideas.

This opera by Umberto Giordano is as fast-paced, feverish and incendiary as the times of the French revolution its set in. It hasn’t been produced here for 30 years because the best-class singers who can do it justice only come once in a generation. Luckily for us, this time is now and this singer is Jonas Kaufmann – his performance was out of this world, absolutely the best it could be. In fact every one is this opera was great- Zeljko Lucic, Eva-Maria Westbroek, Elena Zilio – the cast was simply perfect. However, just singing praises is boring – to the story!

This story could not be more relevant. Chenier is being condemned and killed for his satirical poems about the French Revolution. Just this year the world was terrified by the killings of cartoonists in France – murdered for their satire. There is nothing new under the sun.

The past few years we’ve been observing revolutions all over Middle East. The West got very excited, the fight for democracy, etc. However, revolutions lead to civil wars, civil wars lead to terror, neighbours, friends, killing each other. Whoever wins isn’t necessarily going to be merciful and even if they are, they have blood of thousands on their hands. Chenier starts by supporting the revolution but after seeing its terrors, he changes his mind. What matters in the end is love. Revolution has not freed Gerard either, his passion in the end was stronger – ‘it is a mere change of masters.’ While in this context he means the master – aristocracy to the master – passion, I interpret it further to be a transition from the master – aristocracy to the master – the mob. It is easy to fall out of their favour, anyone can be ‘the enemy of the state’, this ‘justice’ is also cruel to those who don’t agree with the current masters. Gerard calls the mob ‘blood-thirsty villains’. Indeed they are scary in the opera, they can and will devour all on their way: poets, lovers, mothers.

Ultimately, however, this is a love story. Revolution may be glorious and epic but ‘the flame that lights the universe is love.’ I think with everything that’s going on the world, this can be a good lesson to us all.

On ‘Un Ballo in Maschera’ by the Royal Opera House.

January 3, 2015

Last night I saw ‘Un Ballo in Maschera’ in the Royal Opera House. I’ve been waiting for this opera for ages as it was my chance to see Dmitri Hvorostovsky, a Russian baritone who I absolutely adore. My whole family in Russia pretty much worship him and there is a real cult of his personality that I grew up with. Hvorostovsky’s fame is not only due to his amazing opera achievements but also his performances of Russian traditional songs and old war songs. Big live concerts on national television, concerts on the Red Square or any kind of family celebrations – he is there, singing and being admired by the whole nation. Needless to say I was very excited. Immediately he had a very strong presence on stage. There could be no mistake of who he is. Well, this time he was Renato, Riccardo’s advisor and a loyal friend. Well, that is until he murders him (oops, spoilers). In short, I was not disappointed in the slightest and left really happy for having seen a legend live.

As for the opera itself, it was very enjoyable. It follows the standard structure: love that is not to be, friendship that is not to last, hope for happiness, then betrayal and death. That has been a formula for centuries and it works. Here the director Kathrina Thoma has added some extras, such as moving statues. While that was awesome in ‘Blink’, Doctor Who, I didn’t entirely get it there. Other additions didn’t spoil the opera but did not enhance it either.

Overall, I will recommend seeing it. There are a few performances left in January. I bought my ticket for 12 pounds, which lacked a seat. This brings me to my conclusion: a strong cast and wonderful music by Verdi make this opera worth standing for.

On Glyndebourne’s production of Rinaldo

August 26, 2014

On 24th June I was invited to see Handel’s opera – Rinaldo. Robert Carsen’s production was set in a school, inside the imagination of a school boy Rinaldo, played by Ieston Davies, who was (I can’t wait to write it) – absolutely fantastic. A nasty teacher (Karina Gauvin) made him write an essay about the Crusades and he imagines himself as a noble hero, who is on a quest to save the girl he loves (Christina Landshamer) and fight evil along the way.

First impressions: so many countertenors, basically men singing really high. At first, it is a little funny, you look around to see if anybody else finds it funny. Then as you adjust to the sound, it makes absolute sense for it to be sang this way – afterall it is about very young boys. By the third act, when Goffredo (played by the amazing Tim Mead) sings his aria – I realised that it might be the most beutiful thing I’ve ever heard. To ears spoiled by great opera, when world-class singing is taken as standard, Rinaldo, in my opinion, opens one’s mind to appreciating sound in a new way and this, more than anything else, makes it so wonderful.

Second impressions: frankly, the whole thing is ridiculous. The plot itself is a little underdeveloped, blurry and awkward – perfectly fitting a young boy’s imagination. The production celebrates this ridiculousness and enhances it to the extreme. There isn’t a moment without amusement, ‘knights’ on bicycles going up in the air, crazy-dressed magicians telling boys the way to combat hell is to wear dresses, the final battle being fought in some sort of wierd football dance routine and so on. Although very funny, at times, the awkawardness is a little uncomfortable. Overall, however, everything in that opera being over-the-top is what makes it so memorable and enjoyable. In general I am a big fan of opera not taking itself too seriously and this was a very successful culmination of the ability to laugh at oneself.

Final impressions: as in the end of Harry Potter books – ‘all was well’. Good wins over evil, lovers get reunited to live happily ever after, there is even freedom and love for the bad guys in the end. This opera eulogises dreaming and hoping; in our busy practical day-to-day world, valuing this is what needed to keep humanity human. I congratulate everyone involved on this successful unique production that I will certainly never forget, and if I was doing the star system (do I? My review structures are a bit confused) I would happily give it all 5 stars.

Note: This was my first time in Glyndebourne and it was the most fantastic experience. Also I got the opportunity to chat to most of the cast and Danielle de Niese (yay) so to show off my successful fangirling, here is a picture of their autographs.


Quick review of my 2013 – 2014 opera season

May 13, 2014
  1. It started gloriously with Tchaikovsky’s Eugene Onegin at the Met. It had pretty much a dream cast: Anna Netrebko as Tatiana, Piotr Beczala as Lensky and Mariusz Kwiecen as Onegin. You can read more about my praise here
  1. Shostokovich’s The Nose was certainly the most bizzare opera I’ve seen so far. In the end of the opera one of the singers exclaimed: ‘who would write such a thing? This story is implausible!’ It was a good political opera and being a fan of Gogol does help a lot in understanding it. Read more
  1. Verdi’s Falstaff was exactly what you want Falstaff to be – light (well, in one sense of the word), quick and hilarious. Ambarogio Maestri is completely fantastic as Falstaff. He is coming to Covent Garden in 2015 in a different production of Falstaff and I strongly recommend going to see him – it’s a delightful unforgettable experience – buy here
  1. Wagner’s Parsifal from Covent Garden was next – the very opposite of Falstaff – long, difficult and depressing. ‘Death, to die is the only mercy’, etc. read my review of it here  I do need to see more Wagner next season to get to grips with it because at the moment I feel very lost.
  1. After that I travelled home to Russia to see mainly my family but also Puccini’s Madama Butterfly at the Astrakhan State Theatre of Opera and Ballet. There is little need to describe how fantastic and tragic that opera is and I simply can’t wait to see it again!
  1. Next I saw Dvorak’s Rusalka and I took a break from writing reviews at the stage. I wasn’t sure what to write because Renee Flemming is universally loved as a great opera star yet I didn’t like her at all as Rusalka in this production. I think that it’s poor taste to write something bad about someone as talented (particularly when you don’t know what it is exactly you don’t like) just after their show so I chose not to. I do regret not giving a special mention to Dolora Zajiick who was the most brilliant and funny Jezibaba. I also missed the chance to praise my all-time favourite tenor – Piotr Beczala, who was, of course, a great Prince.
  1. Mozart’s Don Giovanni at Covent Garden was absolutely wonderful. It’s no secret that I adore Mariusz Kweicen so to see him in a title role was a real treat. Alex Esposito was a great Leporello. However it was Elizabeth Watts as Zerlina and Dawid Kimberg as Masetto who really stole the show. Their acting skills were of the highest quality and it was a real joy seeing them on stage. I am mainly writing this to remind myself to see any future productions with them and recommend them to others as brilliant young singers.
  1. Puccini’s La Boheme from the Met this year was really really good. I just came back from Paris and walked around the Latin Quarter so I had even stronger feelings for the atmosphere this opera creates. This as well as Eugene Onegin, I think are best operas for introducing people to the genre as it’s impossible not to fall in love with it. Vittorio Grigolo as Rodolfo was very good indeed, interestingly he was trained for this role by Pavarotti himself. Kristine Opolais sang Mimi very well, particularly considering that she only found out that she had to step in for the role only a few hours before the performance. Do read this story here. The most enjoyable parts were the ones with Susanna Phillips playing Musetta. As well as being a fantastic singer she is such a great actress, absolutely hilarious but is also very capable of deep dramatic acting. She looked like she had so much fun performing and her enthusiasm was enthralling.
  1. Luckily I didn’t have to wait long to see Susanna Phillips again as just 3 weeks later she starred in Mozart’s Cosi fan Tutte. Again, I got to admire her great talent and gained new respect and love for her. It was also lovely to see James Levine back as the Met’s conductor. Overall, this was the most easy and enjoyable opera I’ve seen so far – a fantastic way for me to end the season!
  2. Not quite the end. Tickets for Manon by the Royal Opera House became available and it was incredible. Kristine Opolais was superb. The end of the season was more dramatic and tearful than expected!

What a fantastic season this was! Viva l’opera!

On the Royal Opera’s production of Parsifal

December 19, 2013

Yesterday was my first visit to the Royal Opera House in Covent Garden and it was definitely one I won’t forget.

It was also my first Wagner opera, an important event in one’s life I think.

The music was absolutely incredible. It was a real honour to see Antonio Pappano live – he is both a genius conductor and a fantastic music director. If anyone should be pointed out as the star of the show, without a doubt, it should be him.

Before going I was warned that Parsifal can ‘put me off opera for life’. Luckily it didn’t but it was not an easy relaxing experience. The story is really complicated, full of religious symbols and metaphors. From what I understand the hero of the story is Parsifal, who doesn’t succumb to Kundry’s seductions and remains pure and innocent to heal the king with the Spear (a sacred relic that he then returns to the Holy Grail community). There is ‘redemption to the redeemer.’ Wagner explores a lot of deep concepts and questions humanity has always asked and answers them with compassion – a very good message indeed.

This was Wagner’s last opera and it was full of suffering, guilt, pain and regret. Last week I saw Verdi’s last opera – Falstaff and it was a complete opposite. The clear message was that life is to be enjoyed in all its forms, with laughter, food, sex and silliness. Wagner, in the end presented life as torturous: ‘death, to die, is the only mercy.’ Also sex is very bad according to this opera – it brings all sorts of demons, torment and unhappiness. Interestingly, Falstaff also concluded that everyone in the world is a fool but it’s ok as long as he who laughs, laughs last. Parsifal, as the main hero was also a ‘pure fool’ and he saves the day. I would rather be Verdi’s fool than Wagner’s – it seems a lot more fun. Maybe in 5 years time when I am 30, I will go see Parsifal again and get it a lot more but not for now, dear reader, I am sorry to admit that I enjoy my flaws as a human being and am not ready for the quest for redemption. Yet.

I very much enjoyed the opera though – the actors were absolutely amazing. To sing such complicated arias for nearly 6 hours must require Olympic-level fitness and talent. The whole cast was flawless and it’s difficult to pick anyone out. Since it was an extremely male-dominated opera, I guess I will mention Angela Denoke, who was stunning as Kundry and I would love to see whatever she does in the future.

The production was very interesting. Everyone was in modern dress. So the knights of the Grail all wore the same grey suits. Strangely it worked and provided a more effective image of a secretive sacred order than perhaps if they were in fancy dress. The set was incredibly simplistic, even futuristic. I think this added to the idea of the timelessness of the message and its applicability in any setting. The surprise of the production was that Grail was indeed Christ himself and when he appeared as a young, weak, mostly naked boy – it was a powerful, if distressing, image indeed.

Overall, I would give the production 5 stars and applaud its huge success. It’s my problem that I don’t quite get Wagner yet but to see so many talented people presenting such a beautiful opera in a beautiful building was a real privilege.


On the Met’s Falstaff 2013

December 15, 2013

This year opera geeks celebrated Verdi’s 200th birthday. The Met celebrated with a new production of Falstaff by Robert Carsen. What a wonderful idea to remember a man’s life by showing his last and funniest opera. Also, how wonderful that Verdi’s last opera was so light-hearted and positive (comparing to his other operas, in particular.) His final message is the one of celebrating life, with all its pleasures: love, wine, women, sex, laughter.

This production was set in 1950s and it really worked. Somehow, it made the comedy more relevant and easier to relate to. The set designer, Paul Steinberg and his team have done an incredible job and nailed that theme with thousands of authentic props.

Ambarogio Maestri plays Sir John Falstaff in the most amazing and compelling manner. Last night was his 202nd performance of Falstaff and it’s instantly understandable why he is famous in this role. In my opinion, it’s extremely difficult to be a comic actor and not get very annoying very quickly. Only a few actors who are born to entertain can manage that. Ambarogio is without a doubt one of them and is an absolute pleasure to watch and listen to.

Conducted by James Lavine, the music is very intricate, particularly in the first and second act. So this opera doesn’t flow from one aria to the other as some others. This makes it feel very spontaneous and adds to its charm and unique energy.

The last message of Falstaff was that we are all clowns and the whole world is nothing but a joke but he who laughs last, laughs best. Leaving the opera on such a positive note was very enjoyable and I will gladly give this production 5 stars.

(picture by )

On the Met’s Falstaff 2013