Sign up to receive updates on Music for free! Subscribe to our myFT Daily Digest email, which will provide you with the latest news on Music every morning. It appears that Glyndebourne’s production of The Rake’s Progress has set a new record. The Royal Opera’s Tosca, which was created for Maria Callas in 1964, had been the longest running opera production in the UK until now. However, Glyndebourne’s historic production of Stravinsky’s opera has managed to surpass it. First presented in 1975, the production features classic designs by David Hockney, which is a major reason for its popularity. Inspired by Hogarth’s prints from his series of paintings with the same name, the designs still look as fresh today as they did when they were first introduced. Hockney himself was present in the audience, watching this performance from the foyer circle, and had plenty of reasons to be pleased.
With a cast of young and fresh-faced principals, this revival never feels stale, even if some of the singing may have been surpassed in previous years. One standout performer is New Zealand tenor Thomas Atkins, who portrays an exceptional Tom Rakewell. Atkins is a graduate of the Royal Opera’s Jette Parker Young Artists Programme, where he showcased his talent in the final scene of this opera. He brings vulnerability, humor, innocence, and a powerful voice to the role, singing the text with impeccable clarity. Louise Alder is a perfect match for him as Anne Trulove, combining the character’s sweetness with determination and delivering a beautiful performance in the final scene. While others before her, such as Felicity Lott and Sylvia McNair, were outstanding in their portrayals, Alder’s rendition is equally captivating. Sam Carl portrays an urbane Nick Shadow, exhibiting infernal power as he leads Tom to his death in the graveyard scene. Alisa Kolosova brings a delightful and bossy interpretation to Baba the Turk, displaying a fruitfully sung performance. Carole Wilson as Mother Goose and Rupert Charlesworth as the auctioneer shine among the rest of the cast.
Under the baton of Robin Ticciati, the London Philharmonic Orchestra delivers a detailed and tender performance, infusing the music with heart and neo-Baroque satire. Hockney and the original director, John Cox, are greeted with applause as they step onto the stage at the end of the production. With its 50th anniversary approaching, this production seems poised to set even more records. ★★★★☆ (To August 27, glyndebourne.com)
Two Proms concerts on Sunday provided equally rewarding experiences. In the morning, John Butt and his Dunedin Consort traveled from Edinburgh to perform Mozart’s C Minor Mass, altered by Clemens Kemme, as well as additional works by the Bach family. Every piece was worth listening to, but there were two particular highlights. CPE Bach’s Heilig ist Gott, with its grand double choir, served as a captivating showpiece for the Proms. In the Mozart piece, soprano Lucy Crowe’s soaring voice beautifully portrayed the enchanting “Et incarnatus est”. ★★★★☆
In the evening, a full house gathered at the Royal Albert Hall for a concert by John Wilson and the Sinfonia of London. Wilson has assembled a handpicked group of musicians, including familiar faces from London’s full-time orchestras, specifically for special projects. The concert featured pianist Alim Beisembayev from Kazakhstan, the winner of the 2021 Leeds Piano Competition, performing Rachmaninov’s Piano Concerto No. 2. Beisembayev showcased his ability to match Rachmaninov’s virtuosic writing with his own power and agility. The orchestra also demonstrated their prowess, although towards the end, their power and passion overshadowed the solo piano – Beisembayev is no small-scale pianist.
The program also included Walton’s Symphony No. 1, where Wilson and his team were faced with the challenge of competing against André Previn and the LSO, whose legendary and explosive performance from 1970 is still highly regarded among Proms enthusiasts. This performance started at a lower emotional level, gradually building up like a coiled spring, and ended with a blazing finale that showcased the team’s virtuosity. As an encore, they performed an arrangement of Gershwin’s Second Prelude, which was well-deserved. ★★★★☆
For more information, visit bbc.co.uk/proms.
Denial of responsibility! VigourTimes is an automatic aggregator of Global media. In each content, the hyperlink to the primary source is specified. All trademarks belong to their rightful owners, and all materials to their authors. For any complaint, please reach us at – [email protected]. We will take necessary action within 24 hours.
