La Cenerentola on a big stage at Covent Garden

Having seen La Cenerentola at Glyndebourne this year, I was naturally intrigued to see how Covent Garden does it on a big stage. Christian Fenouillat, the set designer, gave a nod to Jonathan Miller by presenting a neutral (read bland) stage with hints of a dilapidated castle / grand princely household. The space was cavernous though a few strategically placed walls helped bounce the sound off to the auditorium.

A septet of strong singers helped the drama and music along - Toby Spence gave an almost convincing account of the prince Don Ramiro. Angelina (La Cenerentola) was sung by Magdalena Kozena who had a strong voice. The best performance came from Alex Esposito as Alidoro with strong acting skills and a well tuned basso profundo voice. I did feel the conductor Evelino Pido probably took the tempi a notch too fast - where on several occassions the coloratura singing fell behind the beat.

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Gothenburg Symphony Orchestra, Royal Festival Hall

It was billed as a "Warm Up Event". But I think it was to do with contracts signed prior to the discovery of asbestos at the Royal Festival Hall which added six months to the renovation programme. Gustavo Dudamel conducted the Gothenburg Symphony Orchestra in Strauss Four Last Songs and Mahler 5th. The band made a good sound tough the upper strings were a bit subdue (or was it the Hall?) The Four Last Songs were a bit fast to my liking - and it was only Beim Schlafengehen where I felt the tempo was right. Measha Brueggergosman sang relatively well, though her BIG HAIR was in the way of the sound projection. Mahler 5th was thunderous and supple at the same time - the latter much helped by the strong viola and lower string section. It was exciting and forward but could do with a bit more rubati. Otherwise it was an enjoyable evening out at this much loved venue.

La Voix Humaine, Glyndebourne

Stéphanie d’Oustrac starred in this one act / single cast Poulenc opera. The minimalist stage (Caroline Ginet) consisted of a tilting platform with an old fashioned dial telephone. But that's all it took for the drama to unfold. d’Oustrac was able to draw us into her conversation, expressing the challenging feelings of frustration, anxiety, disappointment and dare we say hope? A superb performance it was.

Bruckner 8, Andris Nelsons and the Leipzig Gewandhaus Orchestra

Bruckner 8 Symphony was a gigantic piece of symphonic writing. What better to hear a mature and thoughtful Andris Nelsons conducting the Leipzig Gewandhaus Orchestra? The slow measured start gave rise to the hallmark relentlessness of the later Bruckner symphonies. Nelsons brought out the rising and falling phrases, and ensured the episodic chunks together form a coherent whole. The scherzo second movement was precise and at pace. Feierlich langsam (3rd movement) was subtle, mournful with a glimmer of light. The masculine sound for the brass section delivered a memorable finale

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