The Passion of Opera

I often go into a performance of Mozart's  Die Zauberflöte  somewhat reluctantly, feeling that it's hard to get beyond the lighthearted music and the bizarre storyline to something with any meaning. There is nothing wrong with just having fun, of course, but it often feels to me that the strange mix of morality, unusual atmosphere, and conflict undermines the comedy of  Flute  while the comedy undermines its seriousness. It offers many opportunities for imaginative productions, and of those I've seen this one manages most effectively to create an atmosphere of lighthearted fun, making it enjoyable while eschewing attempts to make a point or interpret the opera's deep bizarreness. General information & synopsis:  http://en.wikipedia.org/wiki/The_Magic_Flute Satyagraha | Philip Glass Credits: Director | Simon McBurney Associate Director | Max Webster Set Designer | Michael Levine Costume Designer | Nicky Gillibrand Lighting Designer | Jean Kal...

Puccini's  Madama Butterfly  or  Madame Butterfly  is, unquestionably, one of opera's most beloved tales. In many ways it seems fairly straightforward to produce. The snags come, however, in the way the emotional content must be communicated. The first act culminating in " Vogliatemi, bene ," and the opening " Un bel dí vedremo " of the second act must create enough passionate, romantic tension to hold through the entirety of the second act (with the important exception, perhaps, of the revelation of her son) and most of the third act to the point of Pinkerton's return and ultimate betrayal. Most of the actual time of the opera is spent waiting, and unless the anticipation sets up an electric feeling of suspense, that waiting can be very boring. This review will run in somewhat reverse order - focusing on major characters, then comprimarios, and finally on the production itself. General information & synopsis:  http://en.wikipedia.org/wiki/M...

Having seen film versions of Beethoven's Fidelio  and seen it live in Vienna in a fairly traditional if not period-specific production I was intrigued by the abstract production being offered at the English National Opera. I have no problem with abstract productions but I do tend to think it is easier to do more traditional productions well, or at least acceptably, whereas the bar is higher for abstract productions. Oddly, therefore, I was surprised to find that this production of  Fidelio would have been more pleasing had it actually played on its abstract strengths rather than going to those extremes only at certain moments and falling into complacency between them. This review will be a bit unusual in that I will touch on the performers first before the production, almost in opposite order of my normal order. Synopsis and general information:  http://en.wikipedia.org/wiki/Fidelio Fidelio | Ludwig van Beethoven Credits: Director | Calixto Bieito Set Designer |...