Everybody loves David: Handel’s Saul at Glyndebourne

Barrie Kosky’s vividly abstract production of Saul for Glyndebourne embraces every emotional detail of this dramatic oratorio, from its exhilarating choruses to its raw, intimate family scenes. Kosky adds voices beyond Handel’s music: we hear laughs, shouts, cries, sobs, sighs, gasps, even spoken words around and between the score, fleshing out each moment with human detail.…

Season preview for Culture Whisper: Glyndebourne 2016

Melly Still’s magical production of Janáček‘s The Cunning Little Vixen (revival, 2012) is back, the only opera I know to have been born from a comic strip. Still’s vision balances a fine naturalistic sense with elements of Eastern European folktale and cartoon to deliver a world of animals bursting with colour, while humans exist in monochrome…

Baring all: joyous abandon from Opera Naked

Opera Naked is cool, confessional cabaret from a singer’s point of view.  Absolute devotion and dedication to opera – in the face of financial disaster, parental disapproval, physical problems and even moral dilemmas – is what gives this production its passionate, beating heart. The whole thing rolls along at a lick; moments of pathos are…

Ariadne auf Naxos performed by Glyndebourne Opera

Method in its madness: Strauss’ Ariadne auf Naxos, Glyndebourne

To say that the 2013 Glyndebourne production of Strauss’ Ariadne auf Naxos has received “mixed” reviews would be an understatement. The reviews have, in fact, been terrible. So terrible, that even Glyndebourne could only fish out a 4-star, not a 5-star, review to put on their website, and that only from the august operatic tome…