Diary of a Culture Hedonist

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.

ENO brought a lot of fun to this production of Iolanthe, with witty costumes and stage designs (Paul Brown). All the roles were well cast and the chorus did the Lords proud!

Bryn Terfel gave an impressive performance of the title role - punchy delivery of the Russian text and quite animated acting. John Tomlison's drunken Varlaam was fun. David Butt Philip's Grigory Otrepiev was also excellent. The chorus raised to the challenge and tackled the numerous choruses with gusto - they almost sounded Russian. Pappano did a fantastic job at usual.

When I last saw Akhnaten, I was a school boy. Yet this opera left a lasting impression - the opening arpeggios , the entwined melodic lines, the naked singers and the stark production (sand castles!). So I was much looking forward to seeing this new production thirty years on. Anthony Roth Costanzo made a pensive and somewhat haunting Akhanaten with his vocal colours. The chorus was on form (despite recent troubles). The orchestra rocked from time to time and it was unfortunate that the ensemble fell apart at the destruction of Akhanaten's empire - though Karen Kamensek did a good job at holding everything to together. As for the production? I found the juggling a little too much - they worked fine at the beginning but it became a little repetitive, almost distracting. As for the stage set (Tom Pye), it was a little too close and introspective (perhaps that was the intention). It was a delight to see Philip Glass coming on stage at the end - to receive an enthusiastic applaus...

Robert Murray was probably a bit too mature as the 21-year old Frederic, Claudia Boyle made a fine Mabel. The male chorus was definitely tighter and punchier than the girly chorus which sounded a bit untidy. The delivery of words was passable in the spoken passages, but often inaudible when sung. David Parry's waving of the stick in the pit was ok - kept the gig together. Alison Chitty's design was a bit too village-hall for my liking. A little G&S goes a long way. Don't think I will be rushing back to see another G&S at ENO soon.

Definitely not your everyday opera. Tansy Davies's Between Worlds chronicled individual lives at the moment of 9/11 in New York. The music provided the momentum. The sung dialogues were apt, poignant and urgent. The bare-bone stage was creatively used to portray the events of the day. Between Worlds got across some of the intimate emotions the affected individuals experienced on the day.

The best part of the show was Emma Thompson as Mrs Lovett - she could dance, she could sing and she delivered comedy. Bryn Terfel was a little dark as Sweeney, but somehow it suited him. The semi-staging was good - with the orchestra on stage meant one could hear so much more. Pretty good I thought.

A good performance of the Mastersingers. A slow start in the first act, but otherwise it was good. Not too convinced by the village fete judging of shoes and bread ... Big sound from everyone - just as well.