An ever-unfolding Don Giovanni set at Glyndebourne

It's a new production. It's a much loved opera at Glyndebourne. Gerald Finley sang the title role. Having seen him in lighter Mozart roles (such as Figaro) I was not entirely what to expect. He did the athletic and dashing parts of the character well, but somehow lacked the menacing quality at the darker end of the drama. Anna Samuil's Donna Anna was ok - though I did find her voice uneven in many of the arias. Anna Virovlansky was a feisty Zerlian who partnered well with Guido Loconsolo's Masetto. Alastair Miles was held up in traffic so was only able to take part in Act II.

Jakub Hrusa conducted who did a fine job. The keyboard continuo caused
too much distraction with a lot of unnecessary page turning. Jonathan
Kent's direction was good - with lots of movements in the right places.
The best part of the production was the ever unfolding, revolving and imploding set. It started off as a rotating cube. Then it opened up into Donna Anna's house. Then it turned into Don Giovanni's palatial home. Then it folded into the balcony of Donna Elvira. And so on. Very inventive and engaging for an otherwise dark stage.

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Porgy and Bess, English National Opera

I quite forgot the first number in Porgy and Bess is Summertime! Beautifully sung by Nicole Cabell as Bess. On a whole, the chorus number was better sung than the solo numbers - where the diction was generally inadequate. The set (Michael Yeargan) was three-dimensional and worked really well with the many scenes in this work. John Wilson was in his elements in the pit and the orchestra responded with a rhythmic boisterous sound - the best part of the evening.

Les Huguenots, Opéra Bastille

I don't know why so few Meyerbeer operas are staged in London. In order to see his grandest grand opera, I traveled to Paris to see Les Huguenots staged at Opéra Bastille.

The star of the show was Lisette Oropesa who sang Marguerite de Valois - she got the warm yet regal tone for the role, her delivery of the emotions was fantastic. Yosep Kang, a late replacement for Bryan Hymel, was passable. His rendition of Raoul de Nangis could do with a few more rehearsals. And his voice strained a little at the higher register (there was one gasp in the audience when we all thought he was going to crack!) His love interest Valentine, sung by Ermonela Jaho, was good - a more youthful if pensive voice.

The male chorus was a little agricultural in act 1 - untidy and lacking in focus. Luckily, the men were saved by the women (again) when the ladies of the court sang lusciously while frolicking along a real stream.

Where was the BALLET???

The set design had modern lines and shades - a Parisien c…

Hagen Quartet, Wigmore Hall

Yes, the legendary Hagen Quartet playing at the Wigmore Hall.

The Schubert String Quartet in G minor sounded rough, with problematic intonation from the first violin. The whole piece sounded like a play through. Not a good start. The playing of the Webern pieces (Five Movements / Six Bagatelles) could not be more different. They got through the grittiness and bleakness of these concise pieces with precision and poise.

The second half of the concert was Haydn String Quartet in Bb (Op 55 N 3). The playing was warm, coherent with the kind of interplay between the quartet members that one would expect. Good tempi choice. This warmth was naturally conveyed through brilliant acoustic of the hall.

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