Opera

Janacek’s upsetting opera Katya Kabanova, which hasn’t been seen in the UK for some time, turned up in two different productions over the weekend, with a third to follow in Scotland. The Opera North production by Tim Albery dates from 2007, when it was conducted by Richard Farnes with the clarity and passion which characterises all his work. This revival had Sian Edwards making her Opera North debut, and all told it had a slightly muted quality. The paradoxical jagged lyricism of Janacek’s orchestral writing only struck home intermittently, and there were stretches which could almost have been by Smetana, against whom Janacek partly defined himself. Albery’s production and Hildegard

Spoiler alert: it’s all a dream. At least, I think that’s what we’re meant to take away from the business with which director James Brining accompanies the overture to Mozart’s The Magic Flute. A little girl in ochre pyjamas is trying to sleep while in an adjacent room braying, guffawing adults sit down to a formal dinner. Servants bustle about, and there’s a suggestion that all is not well in the hosts’ marriage. Then sleep descends with a David Lynch-like fizzle of electric lights and we’re pitched into a world of princes, serpents and enchantment. Opera directors love unloading on overtures: obscuring the composer’s own musical pathway into their world

It’s December, and while musical theatre is busy celebrating ‘warm woollen mittens’, opera, as usual, is far more interested in the tiny frozen hands inside them. Because nothing says Christmas quite like consumption, and I’m not talking turkey and mince pies. London’s opera companies are serving up a heaped sleighful of heartbreak this year. English National Opera is going traditional with La bohème, while the Royal Opera is thinking outside the snow-covered coffin with Carmen. There’s something for everybody, so long as it’s tragedy. ENO’s Bohème is the safe option, the show you take your granny to. She’ll be enchanted by Jonathan Miller’s production, which makes its young bohemians’ poverty

Arriving in Budapest, I receive a summons I cannot refuse. Gyorgy Kurtag wants to see me. Famously elusive, the last of the living avant-gardists is about to present his first opera at La Scala Milan this month and, if past form is anything to go by, he’s unlikely to utter much about it beyond a cryptic Magyar aphorism. Kurtag is 92 and his Scala opera — Fin de Partie, after Samuel Beckett’s Endgame — is a hefty 450 pages long, which may be as much music as he has written in half a lifetime. So why is this master miniaturist — famous for compressing his ideas down to a few

How do you solve a problem like Lucia? Murder, madness, abuse, possibly even incest, all set to a soundtrack of rollicking, rum-ti-tum tunes. Add to that a Scottish setting (nothing sabotages dramatic seriousness quite like a kilt, just ask Mel Gibson) and you have Gilbert & Sullivan in an Italian accent, Ruddigore with a cigarette and a suntan. Recently at the Royal Opera House Katie Mitchell tried to naturalise Donizetti’s opera into submission, but ended up tussling with a score she clearly didn’t trust and a cast who didn’t seem to trust her, giving her audience what she wanted Lucia to be, rather than what’s actually there. Returning, after that,

Wolverhampton; Workington; Blackburn; Sheffield; Lancaster; Hackney. Every year English Touring Opera does what our national opera company doesn’t: packs up its props and takes to the road, bringing opera to the bits of the UK other companies don’t even think about reaching. And not just Traviatas and Toscas either, but properly interesting, often unusual, repertoire. With a core staff you can pretty much count on your fingers, and ticket prices that would scarcely buy you a sandwich at the Royal Opera House, let alone a seat, the whole operation is one of those minor miracles of the arts world — a company where a little bit of funding goes an

Gershwin’s Porgy and Bess springs to life fully formed, and pulls you in before a word has been sung. A whirlwind flourish; the hectic bustle of violins and xylophone, and then a quick fade into an image of a woman cradling a child and ‘Summertime’, the very first number we hear sung. The aria’s fame actually serves the drama. The thrill of musical recognition as the curtain rises on an unfamiliar world is replaced by astonishment at the dramatic instinct that allows Gershwin to expend a melody like that before his story has even started, in the certain knowledge that what follows can, and absolutely will, live up to what

‘On Brünnhilde’s rock I drew the breath that called your name; so swift was my journey here.’ It’s Act Two of Götterdämmerung. Siegfried, entoiled in evil beyond his comprehension, has unwittingly committed the betrayal that will tip the whole vast drama into its final collapse, and at this point Covent Garden’s Ring cycle really does feel like it’s swept by in a breath. True, Keith Warner’s 2007 production is looking creaky. But there’s still no mightier assertion of an opera company’s ambition than to stage all four music-dramas of Der Ring des Nibelungen in the space of a week; and no artistic experience remotely comparable to witnessing it. So, about

Yes, Oscar Wilde never wrote it. No, Strauss didn’t intend it. In fact, the composer famously demanded the Dance of the Seven Veils be ‘thoroughly decent, as if it were being done on a prayer mat’. But that doesn’t stop this striptease and musical money shot being the look-but-don’t-touchstone of any Salome. A blonde, blank-faced Barbie doll in gym knickers, vest and shiny trainers stands in a spotlight, a baseball bat in her hands. Strauss’s oboe begins its suggestive arabesques but Salome remains quite still, her eyes fixed impassive, unblinking on the audience. Eventually her hips begin to twitch, her back arches and she goes sullenly through the motions of

At the end of Act Two of Tosca there are some 30 bars of orchestral music — accompaniment to a very specific set of stage directions. During this time Tosca takes two candles and places them on either side of the dead Scarpia’s head. She then removes a crucifix from the wall and lays it on his chest. The tableau is a messy, bloody one, but the message is clear: here the politics of religion and the religion of politics are one and the same. A pietà or the body of a thug? A murderer or a Madonna? It’s all just a matter of spin. In a year of embattled

‘Outside this house the world has changed. Life is swifter than before; there is no time for idle gestures.’ Anatol, in Samuel Barber’s opera Vanessa, doesn’t pretend to be a romantic hero. The son of Vanessa’s old flame, he’s arrived by night at the remote mansion where she’s waited for 20 years with her elderly mother and niece Erika. He seduces the niece, beguiles the aunt and alienates the grandmother, but at no point is he anything less than honest. ‘I cannot offer you eternal love, for we have learned today such words are lies’, he sings, and Barber, remarkably, takes him at face value. Anatol’s music is lyrical and

‘They’ve dined well, they’ve drunk their fill, their brains are dull and slow. They’ll sit snoozing in the dark until they hear some applause, and then, out of courtesy, they’ll wake up’. Hugo von Hofmannsthal’s words, not mine. I’ve never bought the notion that Strauss and Hofmannsthal’s Der Rosenkavalier somehow predicts the first world war. But what’s screamingly obvious is that their next collaboration, Ariadne auf Naxos, precisely skewers the non-existent (in 1916) world of English country-house opera. A millionaire patron has hired an opera company and a comedy troupe for an evening of champagne-fuelled hospitality, and he wants them both finished in time for the fireworks. Strauss and Hofmannsthal’s