Musically Dido is okay, especially Eyra Norman’s Belinda and the spirited chorales. But it could have been a piece of theatre magic, and wasn’t.
Intelligently conceived and handsomely staged, David McVicar’s production of Così fan tutte matches elegance and wit with the simple pleasure of Mozart’s heavenly music.
I was brimming with excitement to see how the Unicorn Theatre would reframe Dido and Aeneas, as they’re usually so successful in fulfilling their aim to produce inspiring and invigorating work for young audiences, but the power and emotion of the score doesn’t really come across.
Dido attempts to make opera accessible to young people, but it hasn’t gone far enough to create a vibrant, engaging story for adults or children.
Verdi’s richly melodious tragedy glistens again as Opera Australia returns its much loved Moshinsky staging of Rigoletto to the Melbourne stage.
The touring production of The Worst Witch is high-octane, clever and extremely enjoyable.
Leonard Bernstein and André Previn very different animals. But their completeness as musicians, their ability to embrace and cherish music of spectacularly diverse genres, their connection with popular culture, their many and varied gifts as conductors, composers, pianists, and impossibly eloquent commentators make them kindred spirits in so many respects.
Love London Love Culture rounds up the reviews for David McVicar’s production of Faust at the Royal Opera House.
Charles Court Opera’s production of HMS Pinafore has all the joie de vivre you could ever want. The messages remain sadly culturally relevant. But ultimately this is the English having a bloody good laugh at ourselves
In Joyce DiDonato’s album Songplay we have the epitome of what we Brits call a ‘Marmite’ experience with elements to love and/or loathe whether or not you buy the concept in the first place.