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Upcoming at ROH and Glyndebourne 2019

What with everything, I missed the Gen Sale for the return to Wagner at ROH (oh, no!). The Ring Cycle is back this Autumn, with Pappano at the helm. I may look up returns for Stemme’s sake (aka, best intentions). Otherwise, we have the following:

Solomon in concert with Zazzo in the title role

Verdi’s Requiem with Jamie Barton and Stoyanova; sold out at this point

Simon Boranegra… for those of strong Verdi constitution (but where there is Wagner, there is also Verdi and there will be another production for the hardcore Verdians soon; an opera we know and I love to make fun of, because a recent new production at ENO clearly was not enough)

Carmen and Hansel and Gretel for the mezzo-deprived; Dudnikova might be an interesting Carmen, I liked her Principessa de Bouillon.

Winter:

The Queen of Spades = must not forget

Traviata for the casual goer – it’s still the much loved production

Katya Kabanova – I’ll probably go

Così returns but don’t count me in

Insights Masterclass with soprano Angel Blue who’s doing a stint of Traviata this season

Spring:

La forza del destino 😉 yep, that one, in Loy’s vision; with Trebs and the Alvaro of our times

Faust – hm, I might go, see how Damrau is holding up, PLUS it’s got Abrahamyan in her ROH debut (!) as Siebel (let’s all lament the fate of very good mezzos). On the downside, Ettinger conducts.

Billy Budd conducted by Ivon Bolton – the all male cast opera, let’s check it out…

Andrea Chenier – NOT with the Alvaro of our times but with Alagna and Radvanovsky! How can we resist that offer?!

Tosca with Opolais/Grigolo/Terfel but the last show brings Draculette back to her rightful territory so yay for those who care.

Summer:

Boris Godunov still with Terfel but without Ain Anger; so soon? Maybe because they were short of money for a new production…

Carmen, because we’d already missed her, this time with Margaine, and Pisaroni as Escamillo, ha!

Figaro after a couple of seasons, because there are only 3 operas and 1/2 by Mozart; this is the season with Kimchilia Bartoli as Cherubino but also unusually with Gerhaher as Figaro plus Keenlyside as the Count. You know it might actually be worth revisiting and weirdly enough, for the men.

La fille du regiment returns once more, now with Devieilhe, and Camarena will show us his 3283576 high C in a row. Then again, Pido conducts.

In conclusion, some interesting turns but generally a rather meh year ahead for yours truly’s taste.

Glyndebourne 2019

La damnation de Faust – a Richard Jones production, so it could be much fun

Rusalka – nah

Il barbiere – see below

Die Zauberflote – I’ll have to see it at some point, don’t know that this is that point; however, Agathe, David Portillo is Tamino 😉

Cendrillon – usually a spectacular mezzo-mezzo borefest, now with DeNiese and the ever trouserable Kate Lindsey; I mean, they had to make up for the music…

Rinaldo with DeShong in the title role. A bit of a strange choice IMO, but to be honest I have not heard her live and in Handel to boot. I was proven wrong before.

Handel’s Alceste with singing lobsters (Wigmore Hall, 29 March 2017)

Whoever advertised this performance struck gold: this was one of the best attended shows I’ve ever witnessed at Wigmore Hall. Though the Colossus of Rhodes or the Pharos was planted firmly in the seat in front of me I couldn’t find a convenient seat to upgrade to without bothering someone. But the Pharos1 was very polite and self aware and leaned to the left (Tower of Pisa, then) – we were on the end seats – so I could actually see 2/3 of the stage, which included the singers and the bassoonist (yes, there was a tenor-bassoon duet!).

Mary Bevan soprano
Benjamin Hulett tenor
James Platt bass
Christian Curnyn director | Early Opera Company (Choir included)

George Frideric Handel (1685-1759)
Concerto Grosso in G major
William Boyce (1711-1779)
Excerpts from Solomon

Interval

George Frideric Handel
Alceste HWV45

Alceste is incidental music with a lot of contribution from the choir and in my case it proved incidental to a good nap. For whatever reason, perhaps because it started with the concerto and because I wasn’t familiar with the Boyce piece, I was lulled into this cocooned state of semi consciouness.

When Hulett and Bevan duetted I had that thought one sometimes entertains of what would an alien make of this if s/he/it dropped in. A bunch of people intently watching two other people on stage make tuneful oooo, aaaa sounds with others coaxing a slightly different kind of sound from wooden boxes of various shapes and sizes. But to what end? the alien might soon zero in to the crux of the matter. And a good explaination, judging by the rapt faces, may be to lull the people in attendence. Nefarious or farious, that would remain to be determined after further investigation. Might the alien subject itself to this experiment?

I don’t necessary recommend pursuing this train of thought too diligently, as I ended up dozing and incorporating the stage action in said flights into delta state. Case in point, when Hulett recited along the lines of …and he rose from below! with the choir rising from below/behind the harpsichord2 to deliver a hearty Handel part, I also rose, and an image similar to this flashed through my mind:

a fine substitute for a singing lobster choir! (click for a funny blog post that has nothing whatsoever to do with opera)

I was convinced the action was taking place at the bottom of the sea. Of course. It must be The Enchanted Island effect. You might think I’m being unnecessary silly but shouldn’t we be truthful about the effects of music on us?

The singers were fine. I remember Hulett as the Oronte from that very fine Alcina from Moscow. His tone is good for Handel but as you well know by now, I like more colour in the voice. Bevan sounded to me particularly mezzo-ish here, perhaps due to the rather low lying parts of what she had to sing and also the way she attacked the acuti. Platt has been someone I look forward to hearing since his very entertaining stint as Caronte in the 2015 ROH Orfeo. Here he sang with gusto and that burnished bass tone as well, both as part of the choir (his biggest part) and as a soloist. The orchestra – Baroque bows aplenty, solid bassoon action and very fun trumpet interventions – sounded velvety.

A while ago a blogger who specialises in London trails liked my post about ‘giardiniera where I talk at some length about South Ken/how to get to RCM. I thought it might be a good idea to take some pictures for readers possibly unfamiliar with London, pictures illustrating how I get to Wiggy or St George’s etc. (you can click for biger views)

once you exit the tube at Oxford Circus, you can reach Wiggy walking up ahead Oxford Street or making a right on Regent Street and then first left.

I like to pass through Cavendish Sq going towards the red building in the background. Your destination is across the grand building on the left. I enjoy a pre-opera snack in front of that funky bath shop


  1. It was only after I noticed the handy (or bummy?) cushion that I remembered the Pharos had sat in front of me before, but at a show where I upgraded to the right). Wiggy is the kind of place where you do end up seeing familiar faces after a while. 
  2. It’s always fun to see 20+ people crammed on the Wiggy stage. I see with pleasure that this trend continues to be joyfully pursued.