Opera & Dance594 entries
Ravel Double Bill
Opens: 04/08/2012 Closes: 25/08/2012
Glyndebourne, East Sussex
This presents two early-century, one-act operas by Maurice Ravel and reunites conductor Kazushi Ono and director Laurent Pelly. Mischievous productions both, L'heure Espagnole recounts romantic shenanigans in a clock shop; L'enfant et les sortileges sees a naughty boy's playthings turning against him.
For more information visit:
http://glyndebourne.com/production/ravel-double-bill
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http://glyndebourne.com/production/ravel-double-bill
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80 %
Whatsonstage.com“The strength of the production is a rock solid ensemble...” Ono conducts with plenty of Gallic crispness and bounce, wallowing in the gorgeous waltz rhythms that constantly bring to mind Ravel’s La valse...
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80 %
Guardian“Directed with impeccable style...” The singing is terrific, but Pelly's gravitation towards caricature sits uneasily with the deeper eroticism of the score. There are times when it could be funnier and sexier than it is...
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60%
The Telegraph“Too soft-centred for hard farce...” Perhaps I’ve been spoilt by the wonders of Danny Boyle’s Olympic opening ceremony, but I never felt the childish sense of wonder that is at the piece’s heart...
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90%
The Arts Desk“A world of farce and children’s pantomime...” The whole thing is a delight to the eye, in much the way that Ravel delights the ear with his musical bric-à-brac, gasping phrases that lead nowhere in particular, harp swirls and clarinet arpeggios...
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80 %
The Stage“Top-notch performances...” Many individual performances impress with their wit and charm, and though Ono’s conducting needs a touch more momentum it scarcely detracts from an evening of genuine enchantment...
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90%
Financial Times“Pure magic...” The enchantment on stage is matched by the glinting detail of the London Philharmonic Orchestra’s playing under the ever-attentive eye of conductor Kazushi Ono...
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90%
The Independent“'L’enfant et les sortileges’, is a masterpiece...” This opera lasts just 45 minutes, but I could have wished it three times as long, as Pelly’s treatment of Colette’s charmingly regretful morality tale works its delicate spell...
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