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Times
16-06-2025
- Entertainment
- Times
Mazeppa review — Tchaikovsky meets the Hells Angels
★★★★★The evening began with Wasfi Kani, the irrepressible founder of Grange Park Opera, urging a round of applause for the donors who helped to bankroll the 'Theatre in the Woods'. 'Ten years ago this place was swamp,' she said before pointing out her latest coup (this time against Arts Council England): getting the English National Opera orchestra to play for David Pountney's new production of Tchaikovsky's Mazeppa — as well as for the Grange Park Ring cycle starting next year. It was great to have such an experienced outfit in the pit, although few if any of its members will have played this opera since it was last staged at the London Coliseum in 1984, in an infamous production involving a chainsaw. • Read more opera reviews, guides and interviews Pountney's Grange Park production is only mildly gory, although staging an opera about the Ukrainian commander who stood up to the Russian tsar would itself seem a bid to be newsworthy. Unfortunately, in this (Russian) opera, the elderly statesman is fairly unredeemable, running off with the young daughter of a fellow marshal he mercilessly tortures and executes before disastrously turning against the crown. Pountney and the set designer Francis O'Connor wisely steer clear of specific parallels and set their sights elsewhere: on toxic masculinity. Barrels of radioactive waste pop up on a stage dominated by two mobile watchtowers and wooden and glass fixtures. There's no escape from the military-chauvinistic complex. In fact, here Mazeppa (David Stout) heads a leatherclad Hells Angels-like squad, which allows for a very funny sequence where he mounts a motorbike with the good-girl-gone-bad Mariya (Rachel Nicholls) while chorus members rush past with road signs and telegraph poles. Also laughable is the high camp of a funeral for Mariya's innocence in which her childhood possessions are tossed into a burning coffin. • The best classical concerts and opera: our reviews These moments wonderfully offset some performances of extraordinary emotive power. As Mariya's mother, Lyubov, Sara Fulgoni delivered a wrenching plea to her daughter to stop the execution of her father, Kochubey — a role Luciano Batanic carried with utter conviction and actual sobs in his voice. His profound bass was the perfect match for Stout's Mazeppa, who brought more subtlety to the title role with the vulnerability of his upper register. Delivering consistently clarion top notes and lyricism was the tenor John Findon, who sang Mariya's spurned lover Andrei, cutting through orchestra and chorus at full tilt, as they often were, and to exhilarating effect. The conductor Mark Shanahan quickly steadied occasional moments of overexcitement. Nicholls vividly portrayed Mariya's transformations before expertly taming her powerful soprano to give perhaps the best rendition of the opera's closing lullaby we're likely to hear, especially if Mazeppa continues to be unjustly underperformed.280min including dinner intervalTo Jul 6, Follow @timesculture to read the latest reviews
The Herald Scotland
01-06-2025
- Entertainment
- The Herald Scotland
'A real show-stopper' - Review: Suor Angelica at Perth Festival
St Ninian's Cathedral, Perth Keith Bruce four stars The three steps up to a specially-constructed performance platform created in the middle of Perth Cathedral could not compete with the grand staircase that dominated Sir David McVicar's recent Scottish Opera staging of the central opera in Puccini's Il Trittico trilogy, but they were emblematic of the more compact success of Opera Bohemia's version in partnership with Amicus Orchestra. Douglas Nairne's production makes the fullest possible use of the venue, which is a new one for the festival with more open sight-lines than St John's Kirk and ample room for the orchestra, which was placed beyond the stage, with the singers often making their entrances from behind the audience. That device made the most of the reverberant acoustic for the choruses, while the instrumentalists, under the very attentive and often exuberant baton of Alistair Digges, always sounded in focus, with well-balanced wind soloists and a rich string sound. A couple of keyboards provide crucial extra sonic colour when required. Read more With simple costuming, stylish stage blocking, and minimal props, the tragic tale of Sister Angelica, rejected by her family for falling pregnant and estranged from her son, unfolds in classic story-book fashion, much of the work done by Puccini's masterly scoring. In soprano Jenny Stafford, who covered the role for English National Opera, Bohemia have a fine new recruit to the more familiar faces in the company. Absolutely on top of the part vocally, she avoids any melodrama in a performance of affecting sincerity, her aria when she learns of the death of her child a real show-stopper. Around her the women swiftly create the impression of a strict but mutually-supportive community into which Angelica's aunt, The Princess, steps as the embodiment of moral severity. Mezzo Louise Collett's nuanced approach to that role is as impressive, the latest of a series of fine performances for the company. Sioned Gwen Davies, Cheryl Forbes and Monica McGhee add important solo voices, and the ensemble of the ten women is the production's heart, suggestive of more rehearsal time together than was probably actually available. Although it is being seen elsewhere – including a performance on the Isle of Bute on Saturday - this is a contribution to Perth Festival of the Arts truly in the tradition of the bespoke opera productions of the event's earliest years, and it should set a template for the future.
Edinburgh Live
29-04-2025
- Entertainment
- Edinburgh Live
BBC Breakfast's Jon Kay shares 'sad news' following death of 'extraordinary' guest
Our community members are treated to special offers, promotions and adverts from us and our partners. You can check out at any time. More info Jon Kay has been met with a wave of support after announcing the death of a guest who featured on BBC Breakfast in 2021. The news presenter shared a series of touching photos with Dave Smith, who sadly passed away at the age of 76. In one image, Jon is seen donning a face mask as he snaps a selfie with Dave and posted an extensive tribute in his honour. He penned, "Some sad news to man" Dave Smith has passed away at the age of 76. "The Bristol driving instructor and pub-singer made global headlines in 2021 after he revealed to me on BBC Breakfast that he'd had Covid for about 300 days in a row - longer than anyone else on the planet at the time.", reports the Mirror. "Back then, his doctors told us that the reason Dave had struggled to get rid of the virus was because years of cancer treatment had seriously compromised his immune system. "But Dave confounded medical expectations and eventually beat Covid after ten long months in and out of intensive care. [...] For decades, Dave had performed in pubs and clubs around Bristol. And even though his lungs had been ravaged by Covid, he was determined to sing again. "We followed him as he joined the English National Opera's online programme to help Long Covid sufferers improve their breathing. The transformation was remarkable.. [...] He said that comeback gig was his "best night ever". And it was one of my favourite ever stories to cover." Jon remarked: "Over the last year, Dave's health deteriorated. He told me the COVID and cancer had taken their toll. But whenever we spoke, he always retained his zest for life, his dark sense of humour, his love of performing and a total devotion to his delightful wife Lyn and their families. I am thinking of them all." He concluded by saying: "Dave died peacefully at home earlier this month. His funeral was last week. RIP Dave Smith. An ordinary name. An extraordinary chap. An honour to have known you." After sharing this poignant news, Jon's followers were quick to show their support, with one commenting: "God bless Dave. This is very sad news. I'm sending lots of love to all his family and friends, thinking of them all at this sad time. Xx." Another follower extended their sympathies, remarking: "Awww, you did a lovely story on him at the time. May his soul rest in peace. Seemed a lovely man." A third commenter echoed these emotions, saying: "So sad but what a great man and family. It means the stars will sound more tuneful from now on with the sound of Dave xxxx."
Daily Mirror
29-04-2025
- Entertainment
- Daily Mirror
BBC Breakfast star Jon Kay shares 'sad news' following heartbreaking death
BBC Breakfast star Jon Kay has been inundated with support after he shared the news that a guest who appeared on the programme in 2021 had died earlier this month Jon Kay has received an outpouring of support after announcing the death of a guest who appeared on BBC Breakfast in 2021. The news anchor shared a series of heartfelt photos with Dave Smith, who passed away at the age of 76. In one photo, Jon is seen wearing a face mask as he takes a selfie with Dave and posted a lengthy tribute in his memory. He wrote, "Some sad news to man" Dave Smith has passed away at the age of 76. "The Bristol driving instructor and pub-singer made global headlines in 2021 after he revealed to me on BBC Breakfast that he'd had Covid for about 300 days in a row - longer than anyone else on the planet at the time. "Back then, his doctors told us that the reason Dave had struggled to get rid of the virus was because years of cancer treatment had seriously compromised his immune system." "But Dave confounded medical expectations and eventually beat Covid after ten long months in and out of intensive care. [...] For decades, Dave had performed in pubs and clubs around Bristol. And even though his lungs had been ravaged by Covid, he was determined to sing again. "We followed him as he joined the English National Opera's online programme to help Long Covid sufferers improve their breathing. The transformation was remarkable.. [...] He said that comeback gig was his "best night ever". And it was one of my favourite ever stories to cover." Jon remarked: "Over the last year, Dave's health deteriorated. He told me the COVID and cancer had taken their toll. But whenever we spoke, he always retained his zest for life, his dark sense of humour, his love of performing and a total devotion to his delightful wife Lyn and their families. I am thinking of them all." He concluded by saying, "Dave died peacefully at home earlier this month. His funeral was last week. RIP Dave Smith. An ordinary name. An extraordinary chap. An honour to have known you." After sharing this heartfelt news, Jon's followers poured in support, with comments such as, "God bless Dave. This is very sad news. I'm sending lots of love to all his family and friends, thinking of them all at this sad time. Xx." Another follower expressed their condolences, stating, "Awww, you did a lovely story on him at the time. May his soul rest in peace. Seemed a lovely man." A third shared similar sentiments, writing, "So sad but what a great man and family. It means the stars will sound more tuneful from now on with the sound of Dave xxxx."
The Guardian
22-03-2025
- Entertainment
- The Guardian
The week in classical: Le nozze di Figaro; Die Zauberflöte
For a young British opera singer to succeed today, it's not enough to have an outstanding voice, natural musicianship and a commanding stage presence. It also requires a steely determination to cope with both the paucity of work at home and the bureaucratic nightmare abroad after Brexit. Successive Tory governments presided over the decline of our leading opera companies, with huge cuts in funding at English National Opera, where seasons are shorter, productions recycled and the orchestra, chorus and music staff put on short-term contracts. And Glyndebourne and Welsh National Opera haven't escaped the knife, forcing them to cease touring; so much for levelling up. Boris Johnson's chaotic Brexit agreement simply forgot that pulling away from Europe would not only make life difficult for exporters – it would place huge barriers in the way of musicians. There's talk of trying to ease these restrictions, but is there the political will to do some joined-up thinking too? Music is a huge earner for this country, but music education is becoming the preserve of those who can afford it. If our new government is serious about supporting the arts (and growth), it must make music a natural part of the curriculum and help create real opportunities for those who want to progress. That sounds like a vain hope when disability benefits are being cut and defence spending rising, but we know that access to music-making – in whatever form and at whatever level – can have a positive effect on young people's health and wellbeing. It's better than staring at a screen. How ironic, then, that Britain, seen across the world as a leading centre of excellence for music training at conservatoire level, has so few opportunities for graduates once they are ready for work. Traditionally, new British singers have had to head to Europe to gain the experience they cannot find at home, but now the paperwork around visas and work permits makes this a daunting prospect, both for the singer and the employer. And the opportunity for worldwide audiences to hear young artists diminishes even further with the threatened withdrawal of BBC Radio 3 from digital services overseas. Given all this, it's gratifying to see that roll numbers have remained consistent at two of our top royal colleges, and – judging by two new Mozart productions staged last week – whatever the hurdles, there are new stars emerging. One name to watch is Ross Fettes, who sang Figaro in the first of two casts in the Royal College of Music's Le nozze di Figaro, directed with wit and charm by Jeremy Sams. Fettes is the whole package, possessing a fine, lyrical bass-baritone and a nimble way with comedy when outwitting his lecherous boss, Count Almaviva, sung by Sam Hird, a strong performer who grew in stature vocally as the evening progressed. Charlotte Jane Kennedy triumphed as Susanna, Figaro's equally crafty fiancee, her creamy soprano voice carrying her effortlessly through one of the most demanding roles in the repertoire. Soprano Madeline Boreham brought an admirable, dignified grace to her portrayal of Countess Almaviva, and fine control to her centrepiece aria Dove sono. Mezzo Cecilia Yufan Zhang was wonderfully energetic as the page Cherubino, and notable among the smaller roles were tenor Marcus Swietlicki as Basilio, Alexandria Moon as Marcellina and Bella Marslen as Barbarina. Diction was strong throughout and ensemble singing particularly impressive. The RCM Opera Orchestra responded well to conductor Michael Rosewell's measured tempi, with some fine woodwind playing particularly evident. Movement director Scott Howland enhanced the comedy with some witty footwork, in a production that was set in a crumbling 1980s French chateau, designed by Alex Doidge-Green and lit by Tim Mitchell. Lighting by Charlie Morgan Jones played a central role over at the Royal Academy of Music in its production of Die Zauberflöte, the bare stage dominated by dozens of fixed floodlights and about 20 neon strips that hovered, rose and descended in a balletic emulation of the action – one even transforming into the magic flute of the title. Mozart's singspiel is endlessly adaptable, and here director Jamie Manton and designer Justin Nardella chose to make the sage Sarastro a charismatic surgeon and his temple a hospital, with patients as his devotees. But having cast members in gowns and masks wrestling with tubes and breathing apparatus as the overture progressed felt uncomfortable on the fifth anniversary of the pandemic lockdown. In the first iteration of this double-cast show, however, we had a fine Papageno to lighten the mood. Mellifluous baritone Conrad Chatterton was instantly engaging, making the most of his role as birdcatcher/hospital cleaner in this extended post-operative hallucination, complete with cart, mops and disinfectant. Spectacular Queen of the Night Binny Supin Yang electrified the audience with her superb coloratura, which contrasted nicely with the velvety soprano of her disillusioned daughter, Pamina (Grace Hope-Gill). Daniel Vening made an impressively sage Sarastro, noble in his aria O Isis und Osiris, with tenor Owen Lucas a suitably menacing Monostatos and bass Theodore McAlindon a sonorous Speaker. Conductor Olivia Clarke kept the sparky Royal Academy Sinfonia on their toes with some enjoyably lively tempi. Perhaps the most intriguing aspect of the evening was the quality of the voices in the excellent chorus, promising more standout solo performances in future productions. Most of the principals in both of these shows will be going on to engagements in summer opera seasons in the UK and abroad, but what comes after depends as much on political will as it does on their undoubted talents. Star ratings (out of five) Le nozze di Figaro ★★★★ Die Zauberflöte ★★★ Le nozze di Figaro is at the Britten theatre, Royal College of Music, London, until Saturday 22 March
