Blitz spirit: Rossini’s Comte Ory, Grimeborn

Rossini’s Le Comte Ory is a flirtatious farce in which a naughty young Count drives everyone demented with his relentless erotic enthusiasms: and it glitters, musically and dramatically, with madcap Rossinian flair all the way through. For Grimeborn, Opera Alegria have moved the setting from the Crusades to the Second World War, with Count Ory as a…

Overpruned to wilting point: Violetta, Grimeborn

Violetta is a reduction of Verdi’s La traviata, using only three characters: the doomed courtesan Violetta, her idealistic yet immature lover Alfredo, and – surprise! Alfredo’s mother. Yes, Germont père is exchanged by Opera Allegra for Germont mère; an eyecatching decision with a potential cascade of interesting effects on the all-important gender dynamics of this piece at…

Greek perfection at Grimeborn 2018: GREEK, Turnage

Like the roar of an older, bolder London, Mark-Anthony Turnage’s GREEK bounces snarling onto the Grimeborn stage, celebrating its thirtieth anniversary in the first ever revival of its world premiere production for Munich and ENO, directed both then and now by Jonathan Moore. The significant privilege of reviving such an iconic production of this groundbreaking work with…

Hurtling into blankness: Entanglement! An Entropic Tale at Tête à Tête

Opera and physics: as a combination, what could possibly go wrong? As I briefly scanned one of the many programme notes generously supplied for the brave audience of Entanglement! An Entropic Tale, entitled “Quantum Mechanics, Shroedinger, The Uncertainty Principle and Wave-Particle Duality”, I felt a sense of mounting panic. However, as experiments go, Entanglement! wasn’t…

Bad boys go head to head: Donizetti’s Lucia di Lammermoor, Grimeborn

Lucia di Lammermoor is an opera of shocking brutality, with savage emotional aggression rivalling physical violence throughout its fast-paced plot. Fulham Opera’s reduction for Grimeborn brings Donizetti’s dark, doomed characters to vivid life with some glorious principal singers, supported by a dramatic piano accompaniment from Ben Woodward. Foremost is Alberto Sousa’s passionate, difficult Edgardo, a…