Werther at the Royal Opera

Rolando Villazón was Werther in this revival of Massenet's Werther. His voice was lyrical and there was care in the phrasing and delivery of the lines. Very well sung. His opposite number was Sophie Koch who sang Charlotte - with a full range of colours in her voice. Together they made a pretty credible pair on stage. Pappano, as usual, got the best out of the orchestra. A nice revival indeed.

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The Westin, Shanghai (上海)

It's only 5 minute's from The Bund (外灘) and a relatively new hotel, The Westin Shanghai ought to be a fantastic place for both business and pleasure. Quite a few tourist guides have also rated this highly. It took me about two days to work out why I never warmed to it. The reason? The sense of proportion is erratic across the entire hotel - some corridors are too narrow, beds too close to the wall (even though I was in a mini-suite), some staircases have irregular steps, etc. The list goes on. What was enjoyable? The location. One could stroll down to The Bund for dinner, drinks or the view. The staff are nice too - always trying to help. What was not enjoyable? Where shall we begin - the fake palm trees, the tightly spaced cafe, the finishing touches, etc.

Król Roger, Royal Opera

The Polish barihunk Mariusz Kwiecień sang the title role on the first performance of Król Roger at the Royal Opera. Kwiecień's portrayal of Król Roger was subtle and involved (might have helped with him having a head cold as Kasper Holten came and told us after the interval). Pappano did full justice to Szymanowski's lush score.

Macbeth, Glyndebourne

Not having read any reviews, I had no idea what to expect at this new production of Macbeth at Glyndebourne Festival Opera. Was I shocked, disappointed, annoyed? Words fail me here. The music was fine - Jurowski commanded the LPO with usual eloquence and fire. The soloists and chorus were on good form too (though the latter had had one or two wayward moments). The problem appeared, alas, when you opened your eyes. As the witches came out of the caravans (trailer-park analogy) it was comical. But when the whole stage design was around some undecipherable social-psychological coding, it became enormously hard to form any understanding between the visual and the audio - the stage was the distraction. Glyndebourne played a crucial role in bring early Verdi operas back to the UK - it was ever more disappointing to see a production of such poor quality.

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