Magazine
Latest Issue

Musical notes

Modern opera stagings too often work against singers and musicians. Transposing Lady Macbeth to 1970s Russia is striking, but confused

By Stephen Everson   August 2004

Covent Garden gets it right The Royal Opera is having rather a good season. There has been a proper balance between operas of different periods and nationalities, and also between the familiar and the less familiar. So we have had Aida and Madama Butterfly, but also Simon Boccanegra, Orlando and Lady Macbeth of Mtsensk; Der Rosenkavalier and Ariadne auf Naxos, but also Arabella and Samson et Dalila. Casting has often been starry, but as often intelligent and satisfying. Intelligent too has been the choice of conductors: Christoph von Dohn?nyi lithe and lyrical in Arabella, the young Philippe Jordan controlled and…

Register today to continue reading

You’ve hit your limit of three articles in the last 30 days. To get seven more, simply enter your email address below.

You’ll also receive our free e-book Prospect’s Top Thinkers 2020 and our newsletter with the best new writing on politics, economics, literature and the arts.

Prospect may process your personal information for our legitimate business purposes, to provide you with newsletters, subscription offers and other relevant information.

Click here to learn more about these purposes and how we use your data. You will be able to opt-out of further contact on the next page and in all our communications.

This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.

We want to hear what you think about this article. Submit a letter to letters@prospect-magazine.co.uk

More From Prospect