As Handel wrote Jephtha‘s haunting central chorus, “How dark, O Lord, are thy decrees,” his own sight temporarily failed him, and he had to break off work. Although he would live for another eight years, Jephtha would prove to be Handel’s last oratorio: a disturbing story from the eleventh chapter of the Book of Judges, in which the…
Director Timothy Nelson has created a new performing edition of Henry Purcell’s The Fairy Queen for Iford, which picks out the most familiar scenes and divides them into four “Nights” (the Mechanicals’ rehearsal, Oberon and Titania’s quarrel, the human lovers’ confusion, and the Mechanicals’ play), framed by a Prologue and Epilogue. Purcell’s music is not only exquisite, but here is…
Director John Savournin has created a lively, accessible and stripped-down Flute for magical Wiltshire garden opera venue Iford which gives the lovers Tamino and Pamina a clear choice between the superstitious tribal culture of the Queen of the Night, and the humanist ethos of Enlightenment philosophy pioneered by the philosopher-sorcerer Sarastro. Simon Bejer‘s design takes us to the Peruvian rainforest,…
Macbeth’s turbulent emotions and fierce storms make it ironically ideally suited to an English summer evening, as the clouds gather menacingly overhead (although I managed to stay dry at Iford). Director Bruno Ravella presides over a sophisticated traditional reading which proves faithful to both Shakespeare’s eerie original, and also to Verdi’s passionate protests for Italian…
Bruno Ravella has updated the action of Handel’s Agrippina to the consumerist hell of the 1980s, giving us big hair, shoulder pads, cocaine and ruthlessness in spades. Agrippina, immaculately coiffured and sharply suited, channels Alexis (Joan Collins in Dynasty) as she plots, bargains and schemes to ensure her son, Nerone, is proclaimed heir to Claudio’s…
Sung in beautifully clear English, Timothy Nelson’s small-scale production for Iford pulls the audience right inside Verdi’s vortex of emotions which keeps Ballo so gripping from beginning to end. Cricket whites, modest floral dresses, evening dress and cigarettes give a sense of the loucheness, yet residual innocence, of the very early 1920s, while poppies and military…
Jeff Clarke’s marvellous retelling of La Fille du régiment updates Donizetti’s original setting (the Swiss Tyrol in the early 19th century) to the hot, dusty Californian desert of the 1950s, where our abandoned baby Marie is found, not by the French army, but by “The Regiment”: a group of Hell’s Angels who really did exist…