![]() The trick is to make them work: largely, if anything but simply, a matter of ensuring a steady underlying tempo, which can certainly be varied, whilst at the same time hearing and conveying the act and ultimately the entire opera as a whole. ![]() In most cases, there will be various solutions. Everyone will have his own ideas concerning tempi. Instead, what we heard was an imaginative, wisely comprehending performance of Mozart’s score. The City of London Sinfonia was on good form, conducted by George Jackson, who fell prey to none of the traps readily walked entered by many of his peers. There is nowhere to hide, least of all in musical terms. In reality, it requires, like all Mozart, excellence in every respect. One might think one could hardly go wrong with The Marriage of Figaro, though all too many recent productions have proved otherwise. Glorious weather helped, of course-quite a change from an earlier visit to Glyndebourne with altogether necessary overcoat and umbrella-but the achievement of Opera Holland Park first of all in putting on a season at all, let alone with its customary artistic success, deserves the highest praise. What a welcome return to Holland Park this proved to be. Opera Holland Park Chorus (chorus master: Richard Harker) Takis (designs), applied on the set for La traviata by Cordelia Chisholm
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