Photo: Ed Lyon as Mercury © Alastair Muir

Some would argue that bringing a bit of nastiness to Rameau is probably the only way to get seats filled. Others might keel over when they see the “anti-dance production” complete with bloody, bandaged feet. Nik Dasgupta of the Londonist reports on English National Opera’s first production of the 1754 French Baroque gem, Castor et Pollux. Operagasm review rundown – go!

Singing so good, you may need to go twice!: ”…a ‘must hear’ production with some thrillingly beautiful singing. Allan Clayton (Castor) and Roderick Williams (Pollux) are two mightily fine singers and to hear them duelling and duetting may well entice listeners to catch this a second time…nothing will last longer than the memory of the glorious singing.”

Raise the roof!….and the orchestra?: ”Christian Curnyn conducts, with his usual panache, an orchestra that unusually is half raised up from the pit. Baroque this may be, but Handel it ain’t, and that unfamiliarity – calm yet obsessive arias and recitatives that run into each other – is worth experiencing.”

Maybe Ed Lyon just couldn’t dance in the first place — good cover!: “The dance music is all there but this is a consciously anti-dance (or, at least, anti-courtly dance) production. This is epitomised by seeing Mercury (a finely sung Ed Lyon) with feet bloodied and bandaged trying to dance and repeatedly falling over.”

The production runs through December 1st – click here for ticket information.

Check out the full review from the Londonist!

I’m not sure if I have ever read an opera review that begins this way…

“Was [director] Christopher Alden high when he was watching The History Boys? Or has he just been overdosing on too many episodes of Skins?” Accusations of drug use might prompt one to think the production was bad, but it sounds like reviewer Rupert Christiansen of The Telegraph thought just the contrary. The latest production of Britten’s take on Shakespeare’s A Midsummer Night’s Dream features a “spine-tingling chorus,” “excellent conductor,” and a pothead Oberon. Probably a good combination:

“Whatever the dubious inspiration, his totally bizarre, sometimes beautiful, often baffling, occasionally bonkers and really rather brilliant new production of Britten’s Shakespearean comedy is set in the yard of a boys’ secondary school about half a century ago…Sometimes you feel Alden is just grabbing opportunistically at any passing notion…But when masterfully designed and performed as it is here, Alden’s dream of the Dream becomes weirdly and wonderfully gripping, tapping deep into the queasy eroticism which lies at the opera’s dark heart.”

Far out, dude.

Check out the full review, here: http://www.telegraph.co.uk/culture/music/opera/8531493/A-Midsummer-Nights-Dream-English-National-Opera-London-Coliseum-review.html

You want a piece of this?

Puuhleease! I'm from the day where we show our actual nipple...

by Melissa Wimbish

Seems like risque is the theme in London! With Covent Garden’s upcoming production of  Anna Nicole and English National Opera’s “controversial” take on Lucrezia Borgia. According to reviewer Mark Swed, “Filmmaker Mike Figgis sets the scene with nudity, intercourse, incest, degradation, description of gang rape — as well as animating naughty Renaissance paintings — in four short films that are used to give proper historical context to an otherwise fictional 19^th century Italian opera…The soundtrack includes interesting electronic mixes of Donizetti’s score.”

Wow! Sounds seriously eclectic. To hear more about this scandalous take on Donizetti’s classic, check out the full review here.

Or, purchase tickets here and let us know what you think!

The English National Opera has come under fire for a new production of Mozart’s Don Giovanni that features two scenes that imply gang rape.  Is this a thoughtful and risque rendition of Mozart’s classic or is it pushing the envelope too far?

In an interview with The Independent, Oliver Condy, editor of music weighed in, “Don Giovanni is a shocking opera about a man who treats a woman in a disgusting fashion.  There is no point shying away from it and giving the audience a sanitized version.  But the rapes are only suggested in the opera. I’m not sure they are supposed to be seen on stage, so perhaps that is taking things too far.  It’s not very savoury, and maybe they are trying to shock for shock’s sake. But in an era of cuts to the arts, ENO knows it needs to find a way of grabbing an audience, and that’s certainly one way of doing it.”

Check out the full article here.

What say you, Operagasm reader?

Catherine Malfitano in ENO production of "Tosca"

Seeing Tosca years ago, for the first time, was a moving, surreal experience for me. Being reared in a strict, devout Roman Catholic household, I was always taught the art of submission, tact and the classic southern bell mantra: “Speak only when spoken to” and ” A lady is to seen not heard.” I know what a bunch of bull that was/ is! Clearly, it is easy to understand my visceral reaction to witnessing the spectacle for the first time. Libertà!!!!!!  So, when it’s done wrong it is as much of a tragedy as the finale.

Fortunately, the English National Opera got it right this time with Frank Philipp Schlössmann’s impressive staging. Get more with this review from Keith McDonnell of MusicOHM.com: www.musicomh.com/opera/eno-tosca_0510.htm

Extravagant plots need extravagant music and extravagant staging. Bizet’s music is so gorgeous that it dazzles, deceptively. But pearl fishers dive deep into the ocean to find their treasures. They don’t do shallow. Read on for the lavish details from Anne Orozio of MusicOMH…. http://www.musicomh.com/opera/eno-pearl_0610.htm

Terry Gilliam is an interesting and versatile artist.  Gilliam started his career as an animator and member of Monty Python’s Flying Circus, he is also known as a successful screenwriter, actor, and film director.  Some of his most memorable films include The Fisher King, 12 Monkeys, Fear and Loathing in Las Vegas, and most recently The Imaginarium of Doctor Parnassus. Gilliam can now add opera director to his long list of credits as he will direct Berlioz’s Damnation of Faust at the English National Opera in May 2011.  Are you excited to see what Gilliam will bring to the opera?

Patricia Racette as Katya Kabanova

Stunning singing actress, Patricia Racette’s sublime performance in Czech composer, Janácek’s lyrical masterpiece, Katya Kabanova, wasn’t enough to cancel out thoughtless staging.

David Alden’s new production was a muddy attempt at ‘realism.’ Trying to follow  his double Olivier Award-winning production of Janácek’s Jenůfa, he fell short on this English National Opera production says Lewis Marceau of Operaticus.com. Read on for the contradictions: http://operaticus.com/katya_kabanova_eno.html

Every year the London Theater Society recognizes the best of London Theater with these awards named after legendary actor Laurence Olivier.  This year the nominees in musicals and opera are:

New Musical: Dreamboats and Petticoats, Priscilla Queen of the Desert,  Spring Awakening,  Sister Act.

Musical Revival: Annie, Get Your Gun,  Hello Dolly!,  A Little Night Music, Oliver!

Actress-Musical: Melanie C, Blood Brothers; Patina Miller, Sister Act; Samantha Spiro, Hello Dolly!; Hannah Waddington, A Little Night Music; Charlotte Wakefield, Spring Awakening.

Actor-Musical: Rowan Atkinson, Oliver!; Aneurin Barnard, Spring Awakening; Bob Golding, Morecambe; Alexander Hanson, A Little Night Music; Tony Sheldon, Priscilla Queen of the Desert.

Supporting Role-Musical: Sheila Hancock, Sister Act; Maureen Lipman, A Little Night Music; Kelly Price, A Little Night Music; Iwan Rheon, Spring Awakening.

Audience award for Most Popular Show: Billy Elliot, The Phantom of the Opera, War Horse, We Will Rock You, Wicked.

New Opera Production: Der Fliegende Hollander, Royal Opera; Lulu, Royal Opera; Peter Grimes, English National Opera; Tristan und Isolde, Royal Opera.

Did you catch any of these productions?  Who do you think should win?